The History Of American Music

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INTRODUCTION

Music is both an art and a science, elements united by their aesthetic side, with a smooth transition from rational understanding to pure contemplation, a truth universally acknowledged and accepted.

But how to justify the very existence of art and music in human life, dominated and conditioned by material needs through excellence? Art psychology researchers considered that only man acts in line with the fulfillment of the intellectual, practical motives and laws of beauty, harmony, aesthetic requirements of regulations imposed by human society. There are different rates of evolution of layers and traditional musical cultures. This creates a perception gap between civilizations of Africa, Asia, the Near Orient, East Orient or Far East Orient, and Europe and, – younger as time – of American musical civilization. Each continent, each cultural environment bounded by meridians and parallels had its own brand, a stylistic matrix in which pulsed materialized subsumptions depend on local conditions.

This paper is divided into five chapters, each of them presenting esential aspects of american music, its features and influence. In this respect, the first chapter of the present paper highlights the birth of American music. In this context, the first forms of this type of music were characterized by aleatorism, a notion that designates a postserial music, where there is an indeterminacy way o speaking, reflecting the ambiguity of relationships between composer and interpreter. In this context, there are emphasized genres such as Blues and gospel that showed empowering for artists who made the music as well as the audiences who embraced it.  This music could and did change lives.

The second chapter highlights genres of American music presented in their chronological order of development, respectively country, gospel and jazz music, three types of music from the 1940s and 1950s.

Starting with chapter three, the begining of the `70s was marked by a new genre, respectively the Heavy Metal. The heavy metal was born in the '60s -'70 s, the hand of the 3 hyper-bands then: Black Sabbath, Deep Purple and Led Zeppelin. The end of `70s and the `80s represented the starting point of the metal subgenus . The heavy metal is certainly one of the most recognized in the youth of today, normally people followers of this music are known as metalheads just one of the many subcultures of our times. Then, representative for this chapter are also, the early Hip Hop and the punk rock.

The IVth chapter presents the evolution of music accesibility through the craze of Internet. The music industry, along with the fields of electronics, telecommunications and software companies are taking advantage of the features offered by the new networks and digital technologies, given their reduced storage costs, distribution and marketing and greater geographical spread these enable to establish new digital music markets. In the context of increasing technological convergence on the one hand, TV networks by cable, satellite and digital terrestrial, and secondly, telecommunications networks and the Internet, the major record companies, as part of an overall strategy group multimedia they belong, they begin to revalue its music products digitizing and distributing them through these new "networks-market" with the aim of establishing new digital music markets globally. The music industry has experienced over the past decade one of the biggest cultural revolutions in history, strongly motivated by technological advances and new processes of production, distribution and consumption musical that has resulted.

In the last part of the present paper one may observe memorable events in the history of the American music and their iconic protagonists. In this respect, the main cases were represented by the legacy of Michael Jackson, Kurt Cobain’s death and the legacy of Elvis Presley. The US music can be characterized by the use of syncopation and asymmetrical rhythms, by long and irregular melodies that say: "reflect the wide and open geography of the American landscape and the feeling of personal freedom typical of American life."

CHAPTER I. THE BIRTH OF AMERICAN MUSIC

History cultures and musical styles involve a careful look and observation – from the most ancient times to the reality that we live in, with possible projections in the future – observation which in turn is done by selecting ​​art sound’s values of the comprehensive manifestations of artistic family that always accompanied mankind's life. Music is both an art and a science, elements united by their aesthetic side, with a smooth transition from rational understanding to pure contemplation, a truth universally acknowledged and accepted. The artist – in this case the musician – is called to outline "another world on this world-mud", according to Mihai Eminescu, and it outlines an undeniable reality.

But how to justify the very existence of art and music in human life, dominated and conditioned by material needs through excellence? Art psychology researchers considered that only man acts in line with the fulfillment of the intellectual, practical motives and laws of beauty, harmony, aesthetic requirements of regulations imposed by human society. There is an art of living, as there is a "second game" art created by man through the law of the three "I", respectively Initiative, Innovation and Invention. Undoubtedly, in his approach, the artist starts to create pieces of art, inspired from the reality he lives, but he formulates its premises for which art is not just a pale copy of reality, but a transfiguration of it. In this respect, Federico Fellini was not sure about "where does life begin and where does the art?” and he tried to find justification. Rudolf Arnheim proposed to restructure the forefront of the real artistic function, of course, based on the idea that the human mind conceives and structures different forms in order to be dominant within the spatial context, either temporal or limiting the blending of the two coordinates. There must be a secret connection between assembly members created, as Hippolyte Taine expected, there must be a balance in stark contrast to the boundaries where this contrast (perhaps only a marked differentiation) highlights the constructive elements, while the new artistic corpus created should be based on emotions and provoke, in turn, states. According to Benedetto Croce, art means the expression of impressions, so it is based on experience and personal experience: artist experience and expertise who creates.

There are different rates of evolution of layers and traditional musical cultures. Mesopotamian practice, the Indian, Arabic or Hebrew ones, extremely cult linked with the idea of ​​keeping tradition always alive and transmitting it with religious precepts of legal value, requiring to keep an overwhelming musical ancestral element. On the contrary,the dynamism, respectively the anxiety of European musics propose a dual action based on simplification and synthesis. This creates a perception gap between civilizations of Africa, Asia, the Near Orient, East Orient or Far East Orient, and Europe and, – younger as time – of American musical civilization. Each continent, each cultural environment bounded by meridians and parallels had its own brand, a stylistic matrix in which pulsed materialized subsumptions depending on local conditions.

Pre-Columbian music culture was manifested thorugh the area of Mexican territory while Central America began to be populated by the Neolithic average of three successive waves of migration: a population of hunters Asian coming ashore in the North, another population – the majority of fishermen – coming by means of sailing in Oceania’s direction (Southeast Asia) and, finally, a third category of population related to nowadays Eskimo who already knew weapons’ processing. Aztec civilization of today Mexico occupied the territory. The first type of Aztec culture is the Olmecs, astronomers who noted the calendar introduced by glyphs and created La Venta ceremonial center, dominated by Mexican pyramid (Vth century B.C). The second cultural type is called Xicalanca and its spiritual center is the city of Teotihuacan, with pyramids of the Sun, Moon’s supreme deity and the temple dedicated to Quetzalcoatl (feathered serpent), as well as monuments of Ivth and IIIrd centuries BC – Centuries III and IV AD. The third civilization is the Zapotec one, with knowledge of writing. Although the Aztecs came to this territory until the fourteenth century, all these successive cultures whose traditions clashed and were intermingled, are known under the generic name of Aztec civilization, named so after their legendary birthplace Aztlan or Aztatlan. The Aztecs were called themselves "Mexico" after their supreme god, Mexi. Central Rite of Aztec civilization, human sacrifice, was practiced at various times, and where applicable, each rite had a specific repertoire strictly followed, a repertoire in which music and sounds in general, had a special on the basis of their capacity to capture gods attention and goodwill. Priests, trained to sacrificial worship, but also for the wealth of Aztecs rites, learned the rules and repertoire of songs in a role they had both choral singing, and singing instruction and in particular, the signals of battle and rhythms encouraged combatants on the battlefield. Other opportunities made music pertaining to the secular sphere. Mayan civilization and culture is a feature from the other one, previously mentioned: they had no cult of war, but an art and a highly developed science.

Pre-Columbian musical instruments are focused on the wind and percussion direction, while the construction material is represented by jade and seashells of different shapes. Ritual dances, performed in concentric circles, rhythmic coordination required of the participants, hence the high priority percussion instruments. Prepared dancers were watched with great appetite and the Aztecs called the dance school a "house of singing", a place where they learned the basics of the four types of dances, reiterating the four universes successively destroyed and renewed by recreating the sun, the earth and the first human pair. These types of dances were:

the mitotic one – designating the general idea of ​​dance (from itot – dance) in celebration of the human life cycle and related events through communities;

the macehua – meaning to get to be rewarding, but also to do penance (to be honored must be humble);

Dances were usually practiced in the morning and had movements with lascivious intent, while dancing musicians practiced in the yard, which could interfere including voice fragments.

What colonists found in the late eighteenth century in indigenous music, evolved in a few steps: bi, tri, tetra and pentatons; in addition to a rich collection of ornaments, voice inflections were used between close sounds, creating the impression of lament. The Bolivian musical area was dominated by the existence of instrumental ensembles, dance repertoires focused on fertility and forest tribes.

In the Argentine, there were identified many similarities with cultural traditions of peoples living today in Tierra del Fuego or Patagonia: short motifs, chained by repetition and variation (Patagonian music), dynamic effects, a wide variety of glissandos, the effects of crescendo and decrescendo, interruption of sentence music (ARAUCANIAN music and the one in the current territory of the Republic of Chile). In this respect, the first forms of american music were associated with rhythm, and had a predominantly supersensible function, the term ”Yewin” designating both the action of singing, and the one to fall into a trance. The types of songs are grouped by directories agricultural, carnival, dance or procession (usually religious, that will come later, thanks to the influence of Spanish).

Later, a form of old American music, Negro spiritual represents a type of religious folk song created by black African slaves in the southern US since the 1670’s. It’s origins were attributed to the Protestant Christian hymns with changes of rhythm and harmony under the influence of African traditions. The pieces were characterized by a dialogue between a singer and a choral group. Negro spirituals were one of the jazz sources. A modern version of negro spirituals is gospel music, which appeared in 1940. For text composition, black slaves were inspired by the Bible’s religious motifs, finding in them the hope of salvation. Singing texts were heavily influenced by typical African-American dialect, and the songs were interpreted with sophisticated improvisations. The distinctive factor is the pace of these songs, which is characterized by syncope. While whites emphasized the melody in religious music, Afro- Americans expressed their feelings through nuanced combination of rhythms, creating a state of collective ecstatic exuberance.

In music, the terms "spirituals" and "negro spirituals" mean those religious songs sung by African slaves in America and they were used in order to refer to a type of music played by Christian communities of blacks in America during the XIXth century and even earlier. Negro spirituals were originally an expression of religious faith, but in some parts, a disguised form of socio-political protest of black slaves coming from Africa, compared to uptake by white American culture. It is well known the fact that slavery was introduced in the British colonies in the early XVIIth century and it was finally abolished only in 1865, after ratification of the 13th Amendment to the US Constitution at the end of the War Secession. As a result of the interaction between music and religion from Africa with music and religion of European origin, there was born this type of religious songs – Negro spirituals – which were performed only in the United States.

Although it consists in many elements of rhythmic songs, the Negro spirituals sound source comes from African, Negro spirituals being a musical form specific to Afro-American religious experience and their descendants in North America. Because of religious music, Africans that converted to Christianity in other parts of the world (Latin America and the Caribbean), evolved into other forms.

"Down in the River to Pray" is a traditional song belonging to the genus African-American spiritual. In those days, the geographically, but also spiritually important areas of border rivers were both white pioneers coming to America as slaves and – metaphorically speaking – being positioned between freedom and slavery, between heaven and earth. According to the text, all mankind (brothers, sisters, mothers, fathers, sinners) called and contemplate the river to pray, deserving to be saved and the worthy ones were wearing a robe and crown. The song is an invocation to God and called the faithful to show the way forward for the salvation of their souls.

Negro spirituals were one of the jazz sources. A modern version of negro spirituals is gospel music, which appeared in 1940. Singing texts are heavily influenced by typical African-American dialect, and the songs are interpreted with sophisticated improvisations. While whites emphasized the melody in religious music, Afro- Americans expressed their feelings through nuanced combination of rhythms.

The first forms of American music were characterized by aleatorism. The notion designates a postserial music, where there is an indeterminacy way o speaking reflecting the ambiguity of relationships between the composer and interpreter. The Aleatorism derives from the Latin word ”alea”- dice. The phenomenon is linked to a broader improvisation mentioned in treaties since the XVIth century, where the name ”sortisatio” , meaning random music, which is oposite to music ”Compositio” , meaning fixed music.

In the evolution of contemporary American music, indeterminacy was established as a true assault against institutionalized serialism; the reaction was shaped, at first, in the American school of composition, supported by John Cage. In this regard, aleatorism appears as an artistic trend manifested in various embodiments, during the sixth and seventh decades of the twentieth century. The moment of maximum involvement and outer design is represented by text composition, proxy forms justifying European concept of composition, having contingencies with free improvisation, jazz inspired music and from non-European traditions. Theorists Cornelius Cardew and Michael Nyman have proposed term conceptualizing, cancellation barriers between musical activities of group and individuals, between professionals and amateurs, between performers and audience, between concert music and one that aspires to a ”green” sound, leading to music that uses probabilistic thinking and operational laws of polyvalent logic. There are two forms of aleatorism: a controlled form, involving a succession of stability between the whole sections and aleatorism, creating syncretic combination between arts using music perpetual concert halls and open forms. Within aleatorism, noise becomes an expressive element, used as acoustic means. Noting this type of music is one that has established its own principles, a code (a legend) appearing at the beginning of each music. Pierre Boulez's representatives are aleatorist, Karlheinz Stockhausen, Pierre Schaeffer, Iannis Xenakis and others.

To better understand the big picture, but also the profound significance of trends and music held in Central and South America during the twentieth century, we consider necessary a sneak peek into history consequences of humanist essence of Spanish occupation. In any civilization, Humanities’ item manifests itself in all cultures, in artistic creations and then in people's daily lives, and, ultimately, to settle at conception of the world and, finally, to convert the ethical norms, aesthetic, political, religious etc. This is why, if desired to analyze the problem of humanistic trends within Iberoamerican world, the first step must be the one of analyzing the artistic creation – alike to the popular and cult – embodied in true monuments of culture that were deep etched while in people's memory. But how tempting it is subject, on-so difficult is the analysis applied onto this pluralistic world par excellence and inside which there was performed, perhaps, the most complex cultural synthesis, because its roots lie on both sides of the Atlantic and were fed from all continents.

Latin American civilization, whose substrate is based on the European Mediterranean culture, is the product of an organic synthesis-cultural symbiosis of three millennia, the main milestones being represented by:

– Romanization of the Iberian peninsula;

– Arab caliphate incorporating this area;

– its future recapture;

– the forming of Spanish and Portuguese;

– their expansion in territories in Africa and America in the period of the great geographical discoveries;

  – people’ independence in possessions across the waters and forming the Latin American states. Due to natural consequence of this history, the Iberoamerican civilization was developed as part of the core European culture, with many cultural inserts in the Middle East, African, pre-Columbian America. Built on the legacy of Catholic version of Roman Christianity, this civilization has received the contribution of: Phoenician, African, Carthaginian, Jewish, ancient Rome, Celtic, Gothic, Arabic cultures and many indigenous ones, among others of Central American and Andean civilizations.

Recombining all these elements and tendencies on the very particular basis of Christian-inspired Spanish-Portuguese origin (due to the evangelization of the Iberian peninsula), was carried out under the particularities of Counter-Reformation (whose perhaps most important center was Spain), and more later, the intervention of the Holy Alliance in the Iberian peninsula. However, after this contacts with the millennial world in Asia and Africa, Iberian world was ready for a meeting with American cultures and creative assimilation of their inheritance. But in this context it must be emphasized and appreciated the interest and respect shown by the Crown of Spain for humanity – either tribal or social – in the context of Central and South America’s culture in pre-Columbian times, even if at the momentum of their conquerors, Hispanics have may had three hundred years to understand and respect fully the value of cultural heritage indigenous, about which testimonies were few, writings of the chroniclers were old from places, and writings of their descendants integrated in time in the noble Iberoamerican region. Dominican theologians have exerted a great influence on politics of Carlos, theVth Emperor of Spain, in the overseas possessions. In the1525’s there was founded El Consejo Real Supremo de las Indias, chaired by a tutor spiritual king, the ruler of the Dominican, Garcia Loayza, one of the originators of new laws, proclaiming, in 1542, to transform natives into real subjects, converted into slaves.

Undoubtedly, in south and central America, unlike North America, there was developed a synthesis of cultures, largely credited by humanists. Certainly, people in those regions have created hundreds of vocabularies of indigenous languages, founding numerous schools for indigenous young people to learn their language. They gathered testimonies about the economical, social, political regime and about pre-Columbian cultures of indigenous societies. In fact, as forerunners Universalists, tragic humanists initiated a new trend in Americanism, which paved the way for independence of the Latin America’s people from the early XIXth century.

Americanism reflects a new stage in the development of cultural symbiosis synthesis in overseas possessions of Spain and Portugal in order to recognize equal rights for their people, based on natural law theories. In Spanish America, operate precursors met the independence humanistic reasons: the Peruvian Juan Pablo Guzman y Vizcardo, the Ecuadorian Francisco Javier Santacruz y Eugenio Espejo, Colombian Francisco Jose de Caldas, Venezuelans Simón Rodríguez, Andrés Bello and Francisco de Miranda. US Independence, French Revolution, the cycle of revolutions in the Pyrenees, which covered most of the XIXth century and a considerable part of the XXth century, marked Enlightenment’s ideology crisis and forms of humanism in this century.

Humanistic thinking in Spanish America revealed insufficient and necessitiy's original principle with the principle of diversity. This meeting has been confirmed by experiencing an intuitive and independent existence in the XIXth and XXth centuries in the Latin American republics which fought for equal rights in the context of international relations and rejected the use of force to resolve interstate conflicts. After the Spanish-American War, in Latin American countries the tendency of solidarity influenced the Latin American people. The `98’s generation, as Spanish intellectuals of the early XXth century were called, generally had a humanistic orientation. Humanistic tendencies of Latin America’s XXth century are manifested in a very energetic and expressed, for example, in the music of Heitor Villalobos, a Brazilian composer. The Argentinean way of thinking in the XXth century draw the Concepción del hombre. In this regard, Jose Francisco Romero allowed touchdowns on the formation of the new man with a new morality and developing ideas of Husserl's phenomenological ideas, Romero introduced the idea of ​​unity between human beings and the world as the foundation of human philosophy and intent as guidance category of human consciousness to the world around us. He conceives consciousness, creating a new reality. Romero examines the dual nature of man regarded as pure activity, as a complex of spiritual acts of each individual. He also had a theory ”del hombre”.

On the other side, Frondizi Rizieri believes that human freedom is not an objective in itself but depends on the value, which is important in ethical and aesthetic as necessary prerequisite for creation. All this paved the way for Argentina to show that even in a new direction of humanist, thoughts and movements are appropriate to Siloist movement. In time, there was created a Latin American world of fundamentalism which was tied tightly, for example, in the situation of the absolute monarchy collapse and it was expressed with special force in the war for Spanish legacy. In the early XXth century, while humanities’ trends manifested not so much by respect for existing traditions, but by the affirmation (in world’s conception, in artistic creation, in everyday life) of universal human values’ priority as a sense of joy in life, of its own value in relation to all the other concerning national, ethnic, social, political and religious elements .

Starting from this point of view, humanistic reasons were revealed in various movements and actions, works of literature and art. Of course, contemporary humanism can meet very different ways of thinking and acting. In this diversity, without dogmatism, rigid disciplinary some ways, is rooted creative force of contemporary humanism. It seeks to unleash the creative potential of personality to help a fully development in correspondence with natural and social data, in revealing new possibilities of energy reserves in the dedication of creation,to itself and others. But in contemporary Latin American, culture trends of contemporary humanities have special features, common determined features. Baroque style, dominant in the Iberian Peninsula along the Golden Century, was expressed in contradictory with cultural synthesis forces in this region. Therefore, it was assimilated and developed in another corner of the Mediterranean world, in the Balkan-Danube region on the one hand, and the overseas possessions of Spain and Portugal, on the other hand, above all in Latin America. Human perception and its drama, the inconsistencies of his nature are expressed here through the Baroque, both in literature and in painting, music, architecture and also nature’s landscapes. In the new situation of the twentieth century, this legacy was converted to Modernism, in Iberoamerican magic realism which, by propers methods it researches and expresses the contradictory nature of the human being, his pains, sufferings and joys.

Despite all the knowledge of history itself, the formulation of inspiration in Spanish classical music in Europe and Latin America can disconcert the first time … in terms of geography, joining Europe and Latin America under the dome of the music subject would let ones thinking, firstly, to a couple of close territories and not continents.

European country neighboring with France whose Paris gave a long time tone in music, Spain is not able to leave indifferent composers outside its borders – much less those of its immediate surroundings – from at least two reasons: some peculiarities of popular music and dances have always had the gift to attract attention and arouse the imagination more – it seems – but they could not do other folk areas of Europe, on the other hand, the existence of creative centers – one could name even schools – in Spanish in the XIXth century around Paris, the capital of universally recognized European music, allowing a constant circulation of values ​​and their creators (this explains certainly the fact that most composers who were fascinated, led the creation of melodies and rhythmic Spanish popular act were French). In summary, under these circumstances, unspanish composers have created music with authentic Spanish resonance. If one takes as a benchmark throughout the XIXth century and think of Latin America, Spanish folk music influence over creation cults was a self-evident fact; more than three hundred years, the Spaniards were there at home. Merely to assert their folk art origins. Thus, however paradoxical, Spain’s echoes were much stronger in the Americas than in the European territory.

And because of musically, as previously noted, Latin America was closer to Spain than Europe, it seems appropriate priority approach coordinates cult music inspired Latin American Spanish. To justify the approach to this section of the subject, it is necessary to specify that, at present, a list made public by Latin American composers has about 1000 names covering the last four centuries, with distribution increasing over time, so the maximum was in the XXth century, namely in the second half of it. This reality has forced to move towards an overview of the musical phenomenon cult in Latin American countries breakdown, while for centuries, trends and tendencies, schools of composition are only possible in perspective -a much larger framework. However, there are required some clarifications:

1. If the nineteenth century Europe and the twentieth appeal to Spanish folklore constituted a form of nationalism or offered a chance of exotic Impressionism, colored Latin American Spanish folklore and classical music were increasingly – since the XVth century – the fundamental forms of artistic expression music, folklore natives remained in the shadow of culture in the area for several hundred years;

2. What arrived in Central America and South America constituted – in both forms of manifestation – the result of multiple influences that euroafroasiatic grafted background music existed in the territories of Spain and Portugal, giving rise to what is known as Spanish music;

3. This Spanish music, transplanted in the Central and South America has once suffered influence of black African music, influence manifested mainly on rhythmic and metric issues;

4. The Spanish base was, one could say, regularly fed with elements from the mother country, both by the population exodus caused by the unfortunate events that shooked Europe, in particular, in the XXth century and by Spanish immigrants composers who settled in Latin America in the same circumstances.

The territories occupied by conquistadors in the XVth century’s classical music were essentially Spanish-influenced by formal Italian first, and Spanish folklore which was converted into the official version of the folklore of the fueled area and continuing to fuel the creations of classical music. In such circumstances it is understandable why the so-called nationalism in European music can be carried out on the territory of Latin America by recourse to indigenous musical, which alone could ensure individuality, originality not only in relation to what was happening in Europe and hallmarks for classical music in the various areas of the occupied territories. In other words, Spanish folklore qualifier can only provide Europe with a specific national music; Latin America's role of rebounded indigenous folklore was already fundamentally grafted in Spanish classical music.

The phenomenon which manifests itself most relevance in the art of Latin America in the early twentieth century is the concern (even rush might say) most of the creators of art to discover and harness the true national focus. The characteristic features of the beginning of nationalism in the XIXth century – having the fundamental component of Spanish music – with leanings to form miniature presence piano in all wards, with titles scenic contradansurilor, dances, songs and use verbatim quotations melodic and rhythmic, already had opened a road. From folk music, dance areas were the Jaraba and the contradanza in Mexico, the landú and modinha in Brazil, the Habanera and the Danzon in Cuba, the Sambas and vidalitas in Argentina, the criollo vals in Venezuela. Only, in terms of harmonic and structural loyalty romantic European style manifests in an obvious manner, while the figures are converted into bridges between aesthetics romantic music of the years `800 `s and a new language, in the 900’s.

Culture tends to require that element of self-definition, shy sometimes, and convincing in other situations. Many Latin American composers of those years, professionals or amateurs, were developing their creations to popular areas with the largest spread without any pretense aesthetic background. In the first phase, which is defined by the director and essayist Uruguayan Hugo López Chirico as ”protonationalism”, there were composers such as Felipe Villanueva (1862 – 1893) in Mexico, Ignacio Cervantes (1810 – 1884) in Argentina, Francisco Manuel da Silva (1795 – 1864 ) in Brazil and Ramón Delgado Palacios (1867 – 1902) in Venezuela. Defense of indigenous arts on American soil was, undoubtly, a feature of the period. Between 1920 and 1940, the current nationalist folk swept across America with claims – not always succeed – universality. The result was the widespread acquisition of European isms, using national picture, which shows clear concern to produce a typical art of each region and at the same time, to be able to provide chip and contribution to universal music.

Two roads marks the trend of the XXth century: first, limited to local inside a picturesque exhibition of European trends; while the second, characterized by originality and independence, able to translate its focus. At the beginning, there is a generation of composers certainly more techniques. Some of them have a band rigorous and more Latin American music impatience to give a formal and aesthetic projection in terms of regional identity. But knowing that bind folk music is quite shallow and there is still a basic musicological research in this regard. Thus, the materials used are simply transplanted within European norms musical language known primarily through Spain, songwriter and her music cults, then Paris and Milan. The will to produce a work rooted in folklore which is, also, manifested, but the results are still awaited. In this phase, López Chirico identifies as belonging to nationalism subjectively, composers such as Manuel Ponce (1882 – 1942) in Mexico, considered as a genuine pioneer of the nationalist movement in the region, Alexander Levy (1864 – 1948) and Alberto Nepomuceno (1864 – 1920) in Brazil, Alberto Williams (1862-1952) in Argentina, Humberto Allende (1885-1959) in Chile. It should be noted that all did their studies in Europe, particularly in Paris and Milan (Williams was a disciple of César Franck, for example). Villa Lobos, competent cellist, was, like Mussorgski, self-taught as a composer lineup. Between 1905 and 1910 it was dedicated to travel throughout Brazil, collecting folk music of different genres. For this period, he himself admits influences of Wagner and Puccini, and assimilating the music of his country is just the beginning. Back in Brazil, few years later, he is unquestionably the most influential musician of his country in one of the most important areas. In the light of the new aesthetics of the XXth century, the Peruvian Alorna Daniel Robles (1871-1942) is a key figure. Initiator of musicological research in his country, his collections of folk songs, accompanied by ethnographic, are all fundamental contributions invaluable. His work includes composing piano pieces, songs for voice and piano, soloists and choir. Opera Illa Cori, whose subject is inspired by Quito's conquest of Huayna Capac, contains a fragment called Himno al Sol, held on quotes, while Meloritm Andean pentatonic offered a stereotyped vision.. Zarzuela El condor care is based on rhythm of Cash Quiz (best known song on the planet – by some commentators). Other composers such as Theodoro Valcárcel (1900 – 1942), Alfonso de Silva (1903 – 1937), Roberto Carpio (1900) and Carlos Sánchez Málaga (1904) raise the creative folk inspiration at at a much more elaborate level. Silvestre Revueltas, perhaps the most interesting of Mexican composers of the time, assumes a position of national vanguard impregnated by a personal aesthetic that leverages a superior structured and renewing creation.

These aspects not only makes individuals face the fact that nationalism music in Latin America had to decline, down from the stage of maximum splendor. The reason is clear; theses nationalists had arrived in the area when they operate one of the most radical revolution in the language of Western music: suspension concept of tonality and gain sound universe apt to be considered as a substitute material composition. On another level, species of song and dance, which still stage folk were massive launched to be commercially exploited by the media of that era. Vidalas Saturday chacareras, zamacuecas are transcribed into sheet music. It is where jazz appears as one of the most original and spontaneous expressions born in America. It is time of resounding triumph of tango in Paris. In this context, the Second World War broke out for many years, while tempered evolution of new musical aesthetic just managed to emerge with remarkable creations.

The Mexican national music has made its presence felt since 1928 with the advent of the National Symphony Orchestra and ended three decades later, José Pablo Moncayo's death. After the splendor attained by targeting national and prosper through asceticism in formal neoclassicism, music came in the second half of the XXth century – and Latin America – in the large field of experimentation and submitted to increasingly criteria cosmopolitanism major. Also, the creations of the argentinean Alberto Ginastera represent a clear example of what folklore had begun to be in the second half of the XXth century in Latin America, as a generation of composers of the 50’s in Perú is through what he left behind a Composite summary of the whole process of national origin. Edgar Valcárcel, Enrique Iturriaga, Enrique Pinilla are three representatives of this generation who brought Perú the international arena and who, searching for a new musical language, found local folk textures in a privileged source of creativity and expression.

One may consider that American music is unique, largely due to its bedrock foundation of blues and gospel music, two forms of music that emerged in the late XIXth and early XXth centuries.   Anchoring the sounds of the African influences in America, these styles underlay the musical innovations of the two centuries: jazz, rhythm, blues, rock, soul and hip hop. Nowadays, they are well known and cherished all around the world, but especially in every corner of the United States. In this respect, it would be impossible to imagine American music without these musical genres.

The global wide interest in American blues inspired famous musicians such as the Beatles or the Rolling Stones, not only taking up their own instruments, but re-influencing American popular music, borrowing elements of blues as the beat, the form or the sound and combining them with new sensibilities.

“The blues was born behind a mule,” said Muddy Waters, the great Mississippi bluesman.  Blues and gospel music was original from in the oppressive experiences of Afro- Americans in the post-emancipation Southern area. When the United States Congress ended their Reconstruction in the1877’s, the political aspects and civic protections had gained and were suppressed after the Civil War, and millions of black people were disenfranchised from economic and political point of view.  But anyway, rural or urban, Afro- American individuals wrought their lives in music inspired from their day by day experiences. 

Blues songs were born in the Mississippi Delta and then, they expanded in the Piedmont Southeast, Appalachia area and Texas, around the XXth century’s turn. 

Blues and gospel showed empowering for artists who made the music as well as the audiences who embraced it.  Many of the traveling blues artists of the 1920s and 30s eagerly took to that life as one of the few alternatives to the heavy and unremunerated  labor of farm or factory.  Similarly, women found a prominence and influence in gospel as singers, choir leaders and composers that gave them a say equal to the male preachers who dominated black churches.  Gospel gave black women a public prominence in church that they seldom enjoyed elsewhere in black America.   Music offered freedom to those who pursued it – the promise of freedom and money. Different tales resonated with African ones and with myths, being kept alive in the black community, and they were embraced by a wider world eager in order to understand the source of blues music’s appeal.  Similarly, gospel music’s deep connection to religious faith often transported both performers and audiences: trances, speaking in tongues and ecstatic emotional outbursts often accompanied the gospel music and services.  This music could and did change lives.

In the XXth century, gospel and blues music gained fame, being accepted around the whole world and even if there is an emergence of newer styles, along with a holding of commercial interest, blues and gospel remain the bedrock of black music. With strong rooting in folk domain, in myths and legends, this music is one of American’s most distinctive and enduring folk forms, surviving and thriving into the present. 

CHAPTER II GENRES OF AMERICAN MUSIC PRESENTED IN THEIR CHRONOLOGICAL ORDER OF DEVELOPMENT

2.1 1940s – 1950s

2.1.1 Country music

The early 1940s faced the greatest commercial success in Appalachian folk. Musicians such as Pete Seeger appeared and grouped in different groups such as the  The Weavers or Almanac Singers . From lyric perspective, these folk performers became early singer-songwriters such as Woody Guthrie did, and the American musical scene became leveled associated with political left. By the 1950s, the anti-Communism period was in full growth, and some performers having a liberal or socialist thinking were blacklisted from the music industry. Also, in the middle of the year 1940,  swing with Western influences reached its popularity peak. It was a mixture of a variety of influences, mostly being related to blues, swing,  polka and cowboy songs, very popular at that time, but also, this period was characterized by early stars such as Bob Wills, who became one of the best known musicians of the age. With honky tonks roots of cowboy influences, modern country music developed in the 1940s, combining with R&B and blues in order to form rockabilly. Even if musicians such as Haley and Presley were of white colour, they used to sing in a black style. This aspect has stirred a great deal of controversy, most of it coming from parents who were concerned about how their children will feel the "race music" and how they would be corrupted. Nevertheless, the popularity of rockabilly phenomenon continued to grow, paving the way of earliest rock stars such as Chuck Berry, Fats Domino, Bo Diddley, or Little Richard. In time, some performers such as Williams was, established the city of Nashville, in Tennessee, as the main interest point, the center of the country music industry. In that area, country and pop were mixed, resulting in what is known today as the Nashville Sound.

2.1.2 Gospel and jazz music

Gospel music has its roots in Afro-American churches in the South in the early XXth century, being a combination of religious hymns, spiritual songs and folk music of southern specified, all bundled by religious poetry binder of joy and celebration. Also, Gospel music was fused with other genres (creating remarkably gospel genres Country Gospel and Blues). Blues, Country and Gospel Genres, taken together, created the foundation for the emergence of Rock 'n' Roll in the 1950’s. Gospel-church music, in a specific manner, is related to African-American Christian communities, mainly choral, characterized by jazz and blues influences. Gospel's precursor was the Negro spiritual music genre. The term is also used today in Gospel music and it signifies a widened more general Christian music of Anglo-Saxon areas or Christian and pop music.

This kind of jazz music was created by blacks in the southern United States in the late XIXth century, but appears as a musical phenomenon characteristic of the twentieth century, based on a specific way of expressing musical thinking . Jazz music uses themes from the american folklore (blues, negro spirituals, cake-walks and coon songs), as ragtimes, and European music (marches cadriluri, polkas, minuets), keeping the tradition of their African ancestors in rhythmic system manner of phrasing and melodic borrowing from European music system, harmonic and instrumentation .

Jazz is a genre of music for piano, composed and improvised, not addressing a characteristic style of piano interpretation: moderate or quick tempo, rhythmic and harmonic accompaniment in the left hand, syncopated melody in the right hand and adorned. There are some features of jazz specific treatment of the musical discourse called swing, which causes the audience a continuous attempt to reconcile the duality between the time of the song (always some freedom rhythmic) and times that rigorously peer basal rhythm, while singers leave the impression that sometimes remains slightly behind the pulsing rhythm; improvisation, phrasing specific manner, attack, vibrato, inflections and also glissandos. Jazz encompasses a variety of styles, starting with the New Orleans’ one (1900), middle swing jazz (1930), be-hop (1945), Cool Jazz (1948), hard-Hop (1955), and so on.

The 1950s also highlighted a widespread of gospel music popularization, in terms of powerful singers as Mahalia Jackson used to be. First, gospel had fame in the context of international audiences in 1948, with the release of Mahalia Jackson's song "Move OnUp a Little Higher". This song was so popular at that time that it could not be shipped to record shops fast enough. Doo wop represents a complex type of vocal music which also became popular in the year 1950, marking the 1960s’ soul and R&B. The genre's exact roots are debatable, but they are for sure, related to musical groups such as the Mills Brothers or The Ink Spots, playing a type of R&B with smooth, but alternating lead vocals. In the context of adding gospel inflections, doo wop's polished sound and romantic ballads were famous on the music scene of 1950’s, beginning in year 1951. The first popular groups were The Five Keys (with their "Glory Of Love" song) and The Flamingos (with their "Golden Teardrops" song). Doo wop was a diversified gender in a considerable manner later in the decade, with groups like The Crows (with their "Gee" song), creating a style of up-tempo and the ballad style via The Penguins (with their "Earth Angel" song), while singers like Frankie Lymon became sensations. In this context, Lymon became the first black teen idol in America’s history after the release of the Top 40 pop hit "Why Do Fools Fall in Love" in 1956.

The 1940’s were defined by World War II. Many European artists fled Europe bringing new ideas to the United States of America. Women were needed to replace men who had gone off to war, and so the first great move of women from home to the workplace began. Rationing affected the food we ate, the clothes we wore, the toys children played with. After the war, the men returned, having seen the rest of the world. No longer, the family farm was based on an ideal career; no longer would African Americans accept lesser status. GI Bill allowed more men to get a college education. Women had to give up their jobs to the returning men, but they had tasted independence. Music reflected the American enthusiasm with great European influence.

Big Bands defined the music of this era. A few of the lead bandleaders of the ‘40’s were: Glenn Miller, Tommy Dorsey, Duke Ellington and Benny Goodman. Bing Crosby’s smooth voice made him one of the most popular solo singers. Frank Sinatra also came onto the music scene and became a very popular solo singer. Be-Bop Music grew out of the big band era and was the beginning of modern jazz. It is swing music with more technique and harmonies rather than single melodies. Charlie Parker was the father of this movement. Be-Bop was not originally intended to be dance music. However as it progressed, people began to dance to the fast beat with all kinds of dances. Musical Theater was reborn with the technique of dancing and speaking the part in such musicals as Oklahoma (1943) and Carousel (1945). Walt Disney’s career began to take off with animated cartoons such as Fantasia (1940), Dumbo (1941), and Bambi (1942). However, the boom years of movies faded with the onset of television in 1948. Radio was still a lifeline for Americans in the 1940’s, providing news, music and entertainment (much like TV today). However, like the movies, radio began to fade in popularity as TV became popular and more available.

Music of the 1950’s was defined by the new Rock ‘n Roll. Developed from a blend of Southern blues and gospel music with an added strong back beat. This type of music was popular with teenagers who were trying to break out of the mainstream middle class mold. Popular singers were Bill Haley, Elvis Presley, and Jerry Lee Lewis. They were promoted on the radio and influenced music around the US, as well as worldwide.

Elvis Presley came on the music scene with a great flair for hillbilly and black music forms that were on the verge of pop-mainstream breakthrough. He was ambitious and wanted change in music. He began in Memphis recording at a small radio station. Six months later he was playing at the Grand Ole Opry. One year after that, he was on the national charts, still being called a hillbilly cat. Six months after that he was the most famous and controversial figure in America, an unstoppable force who served to reshape pop mainstream music. 1956, Elvis recorded Pied Piper of Cleveland, 1956 – Love Me Tender (movie and song became a hit), 1957 – Loving You. Between 1958-1959 over 20 of Elvis’ hits made the charts, even though he was in the Army! 3 of Elvis’ hits have been chosen by the Rock N Roll hall of Fame to be among the 500 most influential songs in the history of Rock N Roll – Heartbreak Hotel (1956), Love Me Tender (1956), and Jailhouse Rock (1957).

Musicals were still very popular. Rodgers and Hammerstein II won acclaim with the musical South Pacific in 1950. Music could now be heard anywhere with the production of the transistor radio (portable radio).

Rock is a way of thinking and expression of ideas and especially a protest against conformism, conventions, prejudices and patterns. It is a genre of popular music performed by small groups, comprising voices (even vocal group), electric guitar and percussion group (battery) that creates rhythmic pulsation binary particularly strong. It appears around 1940 in the United States, with the origins genres of rock and roll, blues, country music and rhythm and blues, and spreads rapidly around the world over the next decade. Among the distinctive features of rock music is the message. Thus, the rock was subsequently developed various subgenres such as soft rock, blues rock, folk rock, heavy metal, progressive rock, punk rock and so on.

CHAPTER III THE 1970S

3.1 Heavy Metal

Origins

The term "Heavy Metal" is currently used to refer to two different concepts: heavy metal (or simply "metal") as a musical genre, which would fit the different subgenres; and heavy metal (or "heavy metal classic") as musical subgenre, corresponding to the pioneering groups and those who follow the classical side.

1. The genre of heavy metal emerged after the development of other bands with the intention of further progress in music and become better.

2. The new bands emerged with every intention of seeking new mesclas instruments and find a more modern sound.

3. The heavy metal came at the request of fans of the genre as a new fashion trend in music.

In one version it is minted the term the writer William S. Burroughs.

1961, "The Soft Machine". Character "Uranian Willy, the Heavy Metal Kid" (Uranian Willy, the Chico "Heavy Metal").

1964, "Nova Express" further develops the term, making it a metaphor for addictive drugs.

1967, another version, attributed to a rock critic: Jimmi Hendrix's music was "like heavy metal falling from the sky".

1968 appears for the first time the term "heavy metal" in a song, in the phrase "heavy metal thunder song" Born to be Wild Steppenwolf group.

In this respect:

Iron Butterfly releases its debut album titled, "heavy".

the creation of the term was attributed to the critic Lester Bangs of Creem magazine, who used it to describe a representation of the group MC5 in Detroit in 1968.

In the early 70`s it was popularized to describe bands like Black Sabbath and Led Zeppelin.

First documented use of the term, May 1971, in a critique of disc Kingdom Come Sir Lord Baltimore Creem magazine.

1969 BBC Peel Jihn officially presented to Humble Pie as the first heavy metal band, referring to the amount of volume used in its interpretation of classic blues cuts.

"New Wave of British Heavy Metal".

Movement emerged within the Heavy Metal in the second half, almost late 70s. It came up with hundreds of amateur bands, inspired by the hard rock of the previous decade.. As a reaction to the commercial tilt punk bands of the late seventies, it was probably this movement that paved the way for the final takeoff in the eighties heavy metal

Metal for Muthas (double CD compilation with the most representative bands of the time, that support the movement) began a tour across England, while many groups included demos, which is a historical heritage for rock lovers.

In 1985, with the disappearance of the initial impulse, many of the bands that could continue publishing discs followed tendencies more commercial or changed their style on the other extreme and remained for a time in an underground circuit.

"New Wave of British Heavy Metal".groups were characterized by innovation and unusual differentiate themselves from their predecessors both visually and musically emphasis. Bands like Judas Priest, Tank, Anvil, Motorhead and Saxon turned to the imagination of the subculture of the motorized rebels clad in leather and chains. It appealed to a metal based on rhythmic sequences power chord, combined with lightning fast guitar solos; all this executed at full volume. Despite a very short duration, movement energized heavy metal in the late 70's and many of the bands are cited as determining influences on the evolution of the genre.

The begining of the 70.s

The heavy metal was born in the '60s -'70, the hand of the 3 hyper-bands then: Black Sabbath, Deep Purple and Led Zeppelin. These three bands were not even similar, but they can consider them all as the pioneers of this genre. Perhaps the most affected the whole world has been indirectly Black Sabbath. Sabbath has been the inspiration for hundreds of different bands around the world, and thousands of musicians take it as an influence. His music was dark, gloomy and delicately powerful: an unerring cocktel in such revolutionary era. Judas Priest, which are the '71 and is the closest thing to modern heavy metal, special mention deserve . Since the early '70s English band has coined this guitar sounds more intense and characteristic of heavy music, creating the NWOBHM. So instead of classifying them with Sabbath or Maiden and other NWOBHM.

Singer Ripper Owens replaced Halford, pointing out that this group introduced the clothing of leather and studs. From 1976-1979 with the incursion of punk music scene throughout the European Judas Priest he remained true to his principles and begins to lead the new wave of British heavy metal Veria appear later bands like Iron Maiden, Def Leppard and Saxon. During those years Judas Priest published the following discs: 1976-Sad Wings Of Destiny; 1977-sin after sin; 1977-Stained class; 1978-bent for leather Hell; 1979-unleashed in the east. In 1990 devastate "Painkiller" which until that date came to be the most brutal album with clear trends speed metal (thrash metal) in almost all subjects, in this record the current and impressive battery of Judas is incorporated, Scott Travis. Also with his impressive guitar solos.

Black Sabbath, Deep Purple and Led Zeppelin.

Black Sabbath, creators of the concept of cryptic letters in the metal, in contrast to the pacifist letters of the time. "Black Sabbath" and "Paranoid" (1970), considered a cornerstone of the metal both in sound and lyrics. Using the tritone and rhythm influenced by metal pressing machines, as known in Birmingham, they gave a heavy sound, advancing through the phrasing of the guitar. Deep Purple launches "In Rock" album that gives them a certain reputation in the UK.

"Machine Head" consecrates to worldwide fame with the incredible "Smoke on the Water" song guitarist Ritchie Blackmore becomes one of the most influential. Despite never characterized as being as bleak as Black Sabbath, Deep Purple framework very important to show that it was the phrasing which moved any heavy metal song style pattern . Led Zeppelin, not being a band of HM, influenced much in their sound. "Led Zeppelin" and "Led Zeppelin IV" (1971). "Stairway to Heaven" a basis for the incredible solos that would occur from the 80s onwards.

The end of 70s and the 80s

AC / DC’s albums "High Voltage" (1975), "Let There Be Rock" (1977) and "Powerage" (1978) consisted sometimes in allusive lyrics to hell and other topics on more relaxed such as "Highway to Hell" (1979). The album reached platinum status and the subject of the same name would be a hymn of rock in the world. Punk born as a reaction against social conditions and excessive rock music, including heavy metal, of the time. Record sales of HM fall in favor of punk, disco and more commercial rock music. New British heavy metal bands published their albums independently, to small audiences and faithful.

Following in the footsteps of Judas Priest, harden their sound, they reduce blues elements and use faster times.

Metal subgenus are represented by speed metal , trash metal, death metal, black metal, doom metal, power metal, progrressive Metal, folk metal, ghotic metal. As follows, one may observe the most importan characteristics of these subgenus.

SPEED METAL

Originated between the late 70s and early 80s because of the influence of the rapid rhythms of punk in the traditional heavy metal.

Judas Priest, Motorhead and Accept are considered the leading developers of the fastest speeds between heavy metal bands.

Some bands belonging: Annihilator, Exodus, Flotsam & Jetsam, Kreator, Metal church, Motörhead, Overkill, Possessed, Testament, Voivod.

Later band influenced by the speed metal leaned toward a harder sound, which would create the metal trash.

TRASH METAL

Early 80`s, movement that began in the US, especially in the Bay of San Francisco (Bay Area thrash metal).

The sound that developed the trash groups was faster and aggressive, increasing the distortion guitars and used the technique of scratching.

"Stone Cold Crazy" by Queen, is considered the first thrash metal song ever.

Popularized by so-called "Big Four of Trash".

Kreator, Sodom, Destruction and Tankard (German), led this genre to Europe.

Metallica put the trash in the top 40 of the Billboard (1986) "Master of Puppets", two years later, the album "… And Justice for All" reached number six. Megadeth and Anthrax also enter the list.

Slayer released one of the definitive albums of the genre: "Reign in Blood" (1986).

90 the trash reached commercial success. (The Black Album, 1991) Metallica is number one on Billboard.

"Countdown to Extinction" (1992) Megadeth reached number two and Anthrax and Slayer reach the top 10.

Albums by other bands like Testament and trash Sepultura are among the hundred best sellers.

DEATH METAL

used speed and aggressiveness of thrash and hardcore, fused with lyrics about violence.

The singers use grunts.

They have more distortion guitars and percussion is extremely faster. Frequent changes of tempo so characterized.

Deicide, Morbid Angel and Obituary Death with leaders of the death metal scene who was born in Florida in the mid 80s.

undergone innovations that have created new subgenres turn. Death traditional metal, melodic death metal (Eternal Tears of Sorrow, In Flames, Children of Bodom, Arch Enemy), the technical death metal (Hate Eternal), progressive death metal (Opeth) and brutal death metal (Mortician, Cannibal Corpse , Vomit the Soul, Vital Remains).

The purest death metal has contributed significantly in the development of grindcore (Napalm Death or Terrorizer).

BLACK METAL.

Satanic themes; many groups take inspiration from ancient paganism, promoting pre-Christian values.

very high voices (shriek) in contrast to (almost guttural) very deep voices, highly distorted guitars and a "dark" atmosphere.

"Black Metal" Venom group. Origin of the term.

Born in Europe in the mid-80s, led by Venom British, Swiss and Bathory Hellhammer Swedes.

92, emerges in countries like Germany, France and Poland.

"Inner circle", Darkthrone and Emperor, accused of Satanism.

93 murder of Euronymous, guitarist (Mayhem), by Varg Vikernes (Burzum).

96 evolve into a more ambient sound, (Dark ambient), (symphonic Black metal), explored by Tiamat and Samael. (Swiss).

90-2000, Cradle of Filth and Dimmu Borgir black metal near the commercial circuit.

Black metal + traditional music: folk viking metal and metal.

DOOM METAL

bass Riffs laden with heavy distortions. He emphasizes melody, melancholy tempos and dark environment.

Blue Cheer and Black Widow, Witchfinder General and Death Row, (Proto Doom).

Traditional derivations as Doom and Doom Sludge.

Metal sludge mixture born as proto doom + hardcore punk.

Death + doom of Paradise Lost, My Dying Bride … resurfaces gothic metal in Europe.

funeral doom, the black / doom or drone metal. exploring

Mastodon, progressive and sludge mixture enters top 40 of the Billboard chart with "Blood Mountain". (2006).

POWER METAL

Reaction to the death and black metal sounds.

more upbeat music, epic melodies and themes that "appeal to the sense of value and beauty of the listener."

Rising Force (1984) Yngwie J. Malmsteen to popularize the genre ultra fast electric guitar (shred) and heavy merge with elements of classical music.

Kamelot, Nightwish and Sonata Artica base used keyboards, sometimes orchestras and opera singers (symphonic power metal).

Bands: Gamma Ray, Blind Guardian, Stratovarius, Hammerfall, Helloween, Angra, Rata Blanca. (Power metal end) Dragonforce, looking for more speed and toughness.

PROGRRESSIVE METAL

Elements: frequent changes of time and different types of amalgam, music mode, improvisations, a technique by musicians, the gradual emergence of instruments, lines of complex bass, etc.

Metal Fusion + progressive rock, "The Thinking Man's Metal".

Watchtower 1985 recorded the classic Energetic Disassembly; perhaps the first album to make an amalgam between the progressive and metal.

Fates Warning would polish and define your style with the great "No Exit" (1988).

1990, Queensryche released the single "Silent Lucidity".

1990 progressive metal reaped one of his greatest hits (both musical and commercial) with "Images And Words" (Dream Theater), sold millions of copies worldwide.

FOLK METAL

Influence of folk elements on a base of heavy metal.

They speak of pride in the region from which comes the band, exalting traditions. (Viking or Celtic tradition).

Instruments: bagpipes, whistles, flutes, accordions, violins or mouth harps accompanying basic tools of metal.

Incorporation of Indian-American melodies group themes Rock Acid or psychedelic rock.

Wizard of Oz, Korpiklaani, Folkearth, Moonsorrow, Orphaned Land.

GHOTIC METAL

Mixing classical music with female voices (sopranos), creating environmental and symphonic effects.

England; with the help of Bauhaus who had punk roots and unintentionally gave life to the Gothic genre, releasing their first album "In the Flat Field" (1980).

Trail of Tears, Penumbra, The Sins of Thy Beloved, Forever Slave, Theatres des Vampires, After Forever.

The Gathering, Tiamat, Anathema; let the sound metal, are inclined to electronic music and classic rock.

Instruments that are being used are:

Base: lead guitar, bass, drums and vocals, possibly a keyboard.

Amplification guitars, and the use of innovative effects or electronic processing, used to thicken sound. Use of power chords and riffs mainly. Triplets, sextuplets, Palm mute, bends, hammer-on, pull offs and especially the tapping and sweep-picking.

Apocalyptica, cellos quartet began recreating songs from Metallica and others. Van Canto (Germany) innovates by power metal using the battery and use a complex harmonic voices, without bass, guitars and keyboards.

Vocal, from clean voices, midranges to very high registers, through the grunts.

Themes

Trend so dark and gloomy, and religion plays a very important role because emphasis is made to spiritual issues and related death, God either supporting, criticizing or simply referring to the issue of a reflective mode.

Issues such as war, nuclear annihilation, environmental issues or religious or political propaganda, are also treated. "War Pigs" by Black Sabbath.

70`s, it gives prominence to issues of sexual, romantic or loving court.

epic or gothic fantasy, fictional stories or historical colorful, exotic mythologies, Manowar, Rhapsody Of Fire. Makeup spectral variations that inspired King Diamond and Mercyful Fate with the legends of ghosts and vampires.

The influence of classical music

Since its inception it is quite evident: Black Sabbath scales used classical music in his music. milestone recording Deep Purple in 1969 with the London Philharmonic Orchestra. Yngwie Malmsteen, gave birth to a new style of playing guitar (Shred Metal) clearly oriented to the classic, but spiced with high doses of speed and virtuosity. Ulrich Roth, Scorpions guitarist, recorded two albums with Sun Electric deeply inspired by classical music that influenced notably Yngwie Malmsteen. 90`s Therion achieved full recognition developing a fusion of classical music and elements of heavy metal, melodic death and power metal.

Characteristics and attitude

Tight leather pants or elastic skinny jeans, leather jacket, black colored clothing, sporting or military boots and long hair.

Black metal, is remarkable bracelets with nails up to 20cm long, barbed wire on clothes corpsepaint addition to simple black and white patterns.

In their way of dressing, they use images of inverted pentagrams and / or images of demons. Preferably also used black shirts with the image of a band album

Long hair transmits power and shake her, expresses energy and shaved head tattooed and sometimes expresses the same power, including, beards or prominent sideburns and sunglasses.

The distinctive symbol of the sign of the horns, it seems that was extended by Ronnie James Dio during his time with Black Sabbath, who copied the gesture that her grandmother used to ward off evil spirits.

Shaking his head to the rhythm of music. This gesture has produced the term "HeadBanger." Rudimentary type of dance known as "slam".

Make (touching) an instrument, "Air Guitar" is played.

Heavy metal concerts are mostly, as many, unforgettable shows where all the energy and performers-audience attitude is demonstrated.

Case Judas. Metal in Colombia

Pioneers in Medellin were Judas, Carbure and Nash. Others like Kraken, Parabellum (Black metal, 1984) participate in the Battle of the Bands.

Internal Suffering, perhaps the Colombian band best known in the world of death metal.Bogota, Darkness, La Secta, Neurosis, Minga Metal, Excalibur, and pestilence.

Warmaster Records, headed by Mauricio who Motoya "Bull Metal" pressed the album "Dawn of the Black Hearts" (Mayhem), collector's item with a single edition for the world held in Colombia.

Other bands are incorporated into the scene then taking to known groups in Europe and the United States, as Legend Maker, Surferance, Agony.

The heavy metal is only a genre more music and certainly one of the most recognized in the youth of today, Normally people followers of this music are known as metalheads just one of the many subcultures of our times. The metal is an expression of art through its different blends instrumental sounds, the combination of other genres and even some of the time baroque music and different techniques on electric guitar sounds a bit more raw and distorted normal …

3.2 The early Hip Hop

It was born in Latin American and African communities neighborhoods New Yorkers like Bronx, Queens and Brooklyn, where characteristic manifestations of the origins of hip hop staked from the beginning, for example, music (funk, rap, blues, DJing), dance (ouch, uprocking, lindy hop, popping, locking) and paint (spray, bombing, murals, political graffiti).

Afrika Bambaataa coined the term hip hop at the time, but years later KRS One, originally from the Bronx, wanted to unify four elements of hip hop: the MCing (rapping), DJing (turntablism), breakdancing (more clearly bboying ) and graffiti. Origins The hip hop arose during the 1970s, when street parties or "Block parties" became common in New York City, especially in the Bronx. The street parties were accompanied by funk and soul until the first DJs began isolating the percussion and spread, since the song became more danceable; This technique was already common in Jamaica (in dub music), which helped the Jamaican immigrant community participate in these celebrations. A leading figure, considered by many as the godfather of hip hop, DJ Kool Herc is that caused, along with other DJs, two of the elements of hip hop were born and developed. On the one hand, the figure of the "master of ceremonies", which was presenting the DJ was created. Slowly, the figure of the MC was becoming more important as recited on the beats, with increasingly clever texts. Moreover, he started dancing, reserving the best dance move when the song stopped momentarily (Ie, when it was a "break"). This originated the term b-boy (break-boy), it would be "the guy who used the break" breakdancing born.

Though women, whites and Latinos have triumphed in interpreting this gender, to 80 these groups do not begin to innovate, to distinguish his style, ultimately, to fill their success.

Hip hop is a cultural and artistic movement that emerged in the United States in the late 1970s in African-American and Latin American communities of New York neighborhoods (Bronx, Queens and Brooklyn).

From the beginning they stood out as characteristic manifestations music (funk, rap, blues, DJing), dance (ouch, uprocking, lindy hop, popping, locking) and paint (spray, bombing, murals, political graffiti).

The union of two elements, the MC (Master of Ceremony) and DJ (Disc Jockey), form the musical style of hip hop: rap.

Bboying dance is popularly known as breakdancing. The person practicing this dance is called bboy, bgirl (fly girl). There is a noticeable difference between a bboy and breaker, the first dances merely cultural issues and bring new elements, innovating and bringing the level of difficulty to new dimensions. The breaker or breakdancero is the dancer only by profit and or fashion, is not aware of hip- hop movement generically speaking, and do not know the history and foundations a bboy should know. Although some bboys include full-time work or on TV advertising, but this is justified by the great advances that have given the culture, not only giving exhibitions for the people but contribute to creating new styles.

Graffiti is the branch of art (paintings) of this culture applied to urban areas. The aesthetics of graffiti has influenced the cartoon (as in the strips of The Boondocks) and in clothing design, album covers and other objects. Those who practice this facet are called writers (writers). There are other styles of graffiti that need not be part of graffiti in hip hop culture. They are: radical & political graffiti, street art & graffiti post (ie, graffiti on policy) and graffiti computer generated.

The beatbox is inspired by an original Mayan art consisting imitate nature sounds with the mouth and re-emerged in New York as the technique to emulate percussive sounds or instruments of rap music with his mouth. Practitioners of this facet are known as human beatbox or beatboxer. This art originated in the age of 80 because the rappers did not have enough money to buy audio equipment, then they began to imitate mouth.

The hip hop such as music emerged in the late 1950s, when street parties or "block parties" became common in the city of Miami, especially in the Bronx, due to inaccessible that were for people clubs and discotheques that were in affluent areas of the Big Apple, as the Loft and Studio 54. The street parties were accompanied by funk and soul until the first DJ's began to isolate the percussion and spread, since the song became more danceable. This technique was already common in Australia (in dub music), which led to Jamaican immigrant community participate in these celebrations. This adaptation of beats later was accompanied with another fresh new technique called rapping (a technique of rhythmic singing and based on improvisation).

Although the graffiti already performed in the 1960s for political reasons, they were not included in the hip hop culture until, in 1970 and 1971, the innovative city in terms grafitis stopped being Philadelphia, taking the place new York with the writers (writers), so named for painting, especially large colored letters with pseudonyms. Among them, the most prominent writers were Phase 2, Seen and Futura 2000.

The graffiti quickly became a hole in the culture, since not only allowed to decorate the walls with the name or group of graffiti itself but also started doing graffiti that named crews or groups of breakdancers, and DJ's or MC's, while areas where organized the famous Block parties were painted.

Follow the culture Hip hop, all music has its dance movements, in this culture that accompanies the dance Rap music is named Breakdance. This kind of acrobatic dance was developed by James Brown in 1969 with his song Get on the Good Foot, at that time the Breakdance was not the same today, there were many movements of soil, but it seemed impossible speed they could acquire the legs of a breaker of that time and the complex movements that could develop, was called Floor Rock. This style was maintained until about 1977, then, in the early '80s Rock Steady Crew, a new group Break with a rhythm that impressed, not only working with the Floor Rock James Brown was formed but it also including the current movements of head turns and other ground movements. Rock Steady Crew starred in the movie Wild Style Charles Ahearn, where the culture of Hip hop was reflected in all its aspects, music, dance and art.

The Five June 2005 was held in Iquique and throughout the hip-hop in Chile, which time is recognized as an important youth part of hip-hop of our society. Obviously the exact time calculations are impossible to define when people it is, but in this sociological journey of listening and interpreting've learned that hip-hop has two important features in Chile: first, that "Black Panther" stands as one of the pioneering rap groups in Latin America and, second, that the hiphop born in Chile and political denunciation as a weapon of artistic and cultural resistance against the military dictatorship.

Since its globalization, hip-hop sits more deeply rooted in the popular layers of underdeveloped countries, marginalized sectors where discontent and systemic breakdown are historical phenomena and reproduced over time by those who inhabit these places. So, with his accuser origin and African Americans plaintiff in ghettos New York, hip-hop takes place in the lives of people who channel dissatisfaction with creation and with the energy deployed It characterizes an important social sector and -many times- stigmatized: Young. In Chile the hip-hop takes place in the eighties and one of its first branches (or guns as some prefer to say) to be disclosed in young people is the break dance. Eventually, the deployment of culture would cover the four branches in total: rap, graffiti, DJ and andnmentioned break dance. The hip-hop expands in the country as a liberation of spirits and consciences, as a playful and creative modern appeal which identifies, represents and expresses. Can express motivations and feelings on the one hand; other social and political thoughts. East movement takes place in the marginal urban space city Iquique, becoming increasingly more strongly to younger men and women seeking own channels of expression spaces and above

However, freedom of being young and conscious social actors express thoughts and practices and deploy. One may try to answer what is urban hip-hop culture of JoVENES of Iquique, whether it is a new social movement or a emerging counterculture movement in a state of discontent. Us We delve into the analysis of what some call new moves social and relationship with social movements of earlier times.

Urban hip-hop culture arises from the very definition of it young people do deployers of this culture, which define specifically as the set of expressions and meanings artistic contestatarias taking place in the urban space to explain publicly dreams, ideals, and social discontent own sociocultural conditions in which their executioners move. He hip-hop originated in African American ghettoes major American cities, where it went global (since early eighties onwards) at different latitudes via media, such as Chile, and more specifically, Iquique.

The hip-hop culture was born in the late sixties and early seventies in the ghettos or suburbs of major urban center US .: New York. Specifically in the Bronx. The origins of this culture they have a deep social and political background. It was born as a response to cultural and youth inequality capitalist political economic model. It is essentially a culture complainant and plaintiff in the difficult and unjust conditions life in the marginal population of the US was The main precursor of hip-hop is Kool Herc, an immigrant Jamaican who came to the Bronx in 1967 bringing certain concepts and artistic and cultural resources that define the hip-hop culture as such. In 1970, musically speaking, "The Last Poets, known today as the pioneers of hip-hop, they recorded their first LP, using a mix of spoken word, jazz percussion and instrumentation.

They declaimed poetry about instrumental, as they do today rappers' (Collective Training Hip-hop). These musical productions, along with the rising tide of graffiti made in meters and public walls, they acted as mass media of the essence and significances of hip-hop, causing the proliferation of this culture beyond the margins imagined by its followers. Throughout the decade of the seventies, the expansion of the hip-hop culture reaches global dimensions. This, aided by processes of globalization of communications technologies or media mass communication. Thus, hip-hop, it could glimpse, for the first time in Chile, in the late 70s thanks the 'Fever Saturday' program, where young Chileans could Robot learn dances, Hollyday and Boggie, some of the dances that make up the brakedance (root of hip-hop).

That would be the seed of a movement that strongly take root in the community Chilean youth, because as Claudio Flores points out, hip-hop pioneer in our country, "there was a need for something"

3.3 Punk rock

The punk is a musical style and also an art form, a way of thinking and expression, a way of life and to find their place in the world. The punk usually born in Social, political and economic conditions difficult. Exclusion, crisis and consequently economic instability, unemployment, lack of possibilities of realization staff, inequality, racism, authoritarianism and injustice are the elements that inspire punk bands around the world to start playing from the mid 70 especially following the crisis of 1973. But we think that before punk, rock, jazz, blues and alternative music all the commercial channels and entertainment had a similar function and can be regarded as a precursor. What They have in common all bands from different countries and different eras are discontent, the need to express their opinions without relying on the cultural industry, its particular way of life, their individual and firm attitude, his anti-authoritarian ideas, their denial to "sell" his nonconformity, ethics "do-it-yourself" (DIY: Do it yourself), action direct and desire to change reality.

Punk musical influences mostly come from America. Between mid the 60s and mid-70s in the United States sounding bands like The Velvet Underground, MC5 (a band politically committed to convictions of character Anarchist), The Stooges and the later New York Dolls and Patti Smith among others, qualified as a garage, or street glam rock that the main influence for first punk bands in New York. In fact, the latest rock bands not They differ from the first of "punk", considering that the term arises in May 1971 in the New York magazine "Cream" where ”Dave Marsh describes the style?” & ”The Mysterians” (with Mexican members in the band) and" historical punk explosion rock " . A similar process occurs at the same time but with less intensity in England. Another group that does claim to be the pioneers comes from Peru where "The Saikos" play in the years 1964-1965 and their early recordings are considered by many the proto-punk band first.

Besides musical influences, the punk movement has others that can unite in artistic, philosophical influences, thought, lifestyle and attitude. For many, the greatest artistic influences in punk come from the vanguards of the beginning twentieth century and especially of Dadaism. Another tangible influence is that of the International Situationist also represents a cross between political art, philosophical thought lefts and put direct action against the capitalist system. Although many of the punk bands do not share such clear political ideas, do express an anti-authoritarian vision and practice provocation and direct action in a spectacular way. The possible influence of Pop Art and postmodernism should be noted especially in the locker room, the appearance and behavior. The lack of a common strong idea, freedom to choose your own clothing, how to behave and identity have to do with destructuring characteristic of the postmodern. Other possible examples are the American Beat Generation in general influenced the whole counterculture, as well as specific examples book George Orwell's "1984" and Stanley Kubrick film "Clockwork Orange" (initially a dystopian novel by Anthony Burgess published in 1962) with its ideas, aesthetics and aggressiveness, slang and the effect of participating in group punks and share with Alex American band in the 1971 work.

The punk movement is not necessarily politicized, and we can say it about all completely apolitical between bands that do not reach beyond expressing opinions about everyday problems and tell their life groups (mostly) who criticize the world around which they are generally anti-authoritarian views, free, anti-establisment and anti-commercial, but do not have a more advanced political commitment and do not incorporate the policy within his life and art. All his gesture is political but without an awareness of life. These bands are trying to protect their freedom of creation and artistic authenticity, but not hesitate to sign contracts with big multinational record companies. Here we can mention the case of Sex Pistols, a band created on the border between art provocative and cheap marketing. Much of punk bands are influenced by anarchist-Marxist political ideas, they are bundled in the Socialist Workers Party England. (And others depending on the country), they have ideas and try to strictly left incorporate them in their artistic production and its way of life, creating a kind of struggle artistic policy that covers all your lifestyle. When from the '80s punk begins to dissolve into smaller scenes, the name given to this part of the movement is anarcho-punk, considering that many bands of all styles come into your definition. We must also mention the Nazi-punk groups that share radical ideas of rights, they proclaim racism and organized into bands to "fight" against immigrants. This type of groups, connected especially with the Nazi part of the movement skinhead, are a small minority and emerge only in the 80s when English Screwdriver change their members and their neo-Nazi followers join. The band is purely political and has close connections with The National Front and British National Party. This world also arises Blood and Honour, a neo-Nazi production network musical.

One may consider 1976 the year of birth of punk, the moment when the phenomenon exploded in all its intensity, entered in the newspapers and became known in many places of the world and especially in the West. But the history of punk starts earlier. the protopunk begins to have force from the '65 especially in the cities of New York and Detroit. Very early, in 1972. The Saints began playing punk in Australia. In the same year, The Strand (the first name of the band that will later become the Sex Pistols), start at London; Malcolm Mclaren, graduated from an art school, he is in New York and attempts to manage the affairs of The New York Dolls. Although not successful in this work, in the same year the band plays at Wembley in London and this concert marks an influence significant in future English punk bands. In the following year in New York opens doors the most legendary and influential in the scene punk club, CBGB (following open until summer 2005). At first the club mainly blues and music sounds more traditional, but soon the owner Hilly Kristal agrees to leave the stage Monday night for unknown bands. The first starting are Television, The Ramones and soon the club gains popularity and attracts bands Patti Smith, Blondie, Talking Heads (all starting in '74) etc.

At the same time in Johnny Rotten joins Strand and 6 November 1975 mounted the first show of Sex Pistols at Saint Martins Art College in London. The Punk official story begins with one of the most influential of all his concerts path. In February Pistols played at Marquee club in London and destroy the place. The the same is repeated with their first concert at 100 Club (the equivalent of CBGB in the capital English). On June 4 Sex Pistols played in Manchester Free Trade Hall and is considered to be in the room there are fewer than 100 people. However, the public are future members of Buzzcocks, The Clash, Joy Division, The Smiths, who, inspired by the music and Pistols energy, form own bands and cause the explosion of the first wave of punk Sex Pistols in October are hired by EMI. The group gains fame and public and at the same time his first hit "Anarchy in the UK" can only be issued on a nocturne schedule.

By across the mountain side scandals one after another and attracts the attention of the country. In December they and some of their followers (including Siouxsie who in the same year Siouxsie form the Banshees) are presented in the televised show of Grundy Hill drunk and after several offenses to the presenter the front page headline "The Filth and the Fury" (The earn Filth and the Fury) in the Daily Mirror on the day after. Many of tour dates of the band are canceled because many owners do not want to let them play in their clubs. To the EMI beginning of the next year canceled the contract with the band, while leaves and Glen Matlock instead enters Sid Vicious.

1977 is the true culmination of punk rock in England at that time is most influential country in this style. The year coincides with the 25th anniversary of the queen and this it becomes an opportunity for radical anti-real artistic creation. The walk-conciertofiesta with the boat "The Queen Elizabeth" given Sex Pistols in June with one of its most loyal followers (and all guests McLaren) coincides with the celebration of the Queen and ends with the arrest of most of those on the boat. In now comes the legend of "God Save the Queen": the song reaches number one charts, but the position is denied and the list this week goes to the first clear position

In August the band has to be presented as The SPOTS (Sex Pistols on tour Secretly) to continue their tours. the only album the band "Never mind appears in October the bollocks, here's the Sex Pistols "and its sale is prohibited in stores one hour after its release for its offensive title. But a week before the last bootleg "Spunk" is already in the street with covered entirely in black. At the end of the year the band won in almost every Award categories for the public's perception of the music magazine NME.

However the expansive explosion Sex Pistols phenomenon finds its rapid decline. The legend ends in the same 1978. The year begins with a tour of the United States to end of which Rotten and Vicious are expelled from the band. In April shooting in Paris Vicious a legendary video singing a version of "My Way" at the end of which triggers a revolver against the public. This is the glorious end of the band. In June the remainder of group makes an audition for a new singer, but nobody cares about the result because the show is only for the filming of "The great rock'n'roll swindle", the film McLaren produced. Sid goes to New York and soon after his girlfriend is found dead in the hotel where they live. In early 1979 began a process against him and a month later, the day after leaving a rehab clinic, dies of overdose. Immediately McLaren created his legend.

Sex Pistols case is not the typical case of a punk band, but shows a good way contradictions within the movement. The band is two things at once: a commercial and artistic invention of visionary businessman Malcolm McLaren and marginality explosion, anger and questioning individual strength standards, organization, the entire system and provides a different answer. McLaren, with his partner, the designer Vivienne Westood, owns alternative clothing store "Sex" on King's Road in London.

On the other side McLaren is interested in art and power of provocation, decides to mix business with scandal and win. The firm manager the band contracts with EMI and then with A & M and the other members do not receive anything the benefits. McLaren claims that he invented all the style, behavior and philosophy band as a commercial product. In the movie "The Filth and the Fury" made in the 2000 by Julian Temple, Johnny Rotten rejects this view and says he no one could say what to do and how to behave. If McLaren was the commercial and provocative genius behind most successful punk, Rotten was the energy and creativity that made the punk legend innovative anti-rules we know.

The first wave of punk

The story of the first wave of punk coincides with the story of Sex Pistols. One of the main slogans musical style is the "rule" found in the fanzine "Sideburns" "This is a chord. This is another. This is a third. Now form a band. "(This is a chord. This is another one. This is one-third. Now form a band.) And this was exactly what happened. After the first bands already mentioned until the late '70s, when the first wave virtually ends, born in England, The Stranglers, The Damned, Buzzcocks (the first band that records on his own label and touching day today after new meeting in 2002), The Clash (in the late Joe Strummer 70 copied DeNiro in "Taxi driver "and thus created the style of the" peak "(mohawk, mohican), Siouxsie and the Banshees (Siouxsie often leads Nazi swastika and makes gestures during his concerts), The Crass, Adam and the Ants, Sham 69 (one of the bands proto-oi! Who unwittingly gathered his about Nazi skinheads part, called "boneheads", "stupid"), The Slits (one band formed entirely by girls), Joy Division (on the border between punk, new wave and post-punk).

The heyday of punk emerged in London while in the United States appear The Ramones and Voidoid among others. In 1979 Margaret Thatcher took power in England as prime minister while the twilight of the first wave punk starts at world. But is not the repressive right-wing government forcing the punk to be modified, but the decline in his popularity in the media. Blondie's single "Sunday girl "who wins the first place in England does not enter the chart in America. Soon in the English scene also begin a change. The anti-establishment lyrics about political and social problems and DIY ethics are one of the most important aspects that accompany the history of punk. good examples fashion "do-it-yourself" are the issues of music and independent magazines, their distribution, self-organization of concerts and the way they dress made by oneself.

Over time, bands retain their authenticity while others are "sold" to the system, sign contracts worth millions and start playing pop punk, despised by the true punk rock fans. There are two fanzines, magazines handmade or at home with the latest news from the music scene, which mark the history of the movement: "Punk" in USA since late 1975 featuring bands CBGB and contains interviews, comics, graphic novels and since June of next year, "Sniffin 'Glue" Marc Perry in London. The second zine is only 12 editions and 15,000 copies after its creator leaves him, Marketing disappointed punk and stars that come into the system against which before ptotests.

The best example of the theory and practice of DIY and a true model of authentic punk band Crass is founded in 1977. The group tries to give a real alternative to the production and musical organization, also understanding his art as a way to fight politics. Crass are 12 people: musicians, technicians and artists from other disciplines who live in a commune on a farm in Essex, southeast London. The organization in the group follows a libertarian rules: it is not organized hierarchically, but cooperating. The band has own recording studio and is self-sufficient in the production of their music. Apart from music dedicated to direct action: publish books and manifestos, edit video Anarchists with the name "Crass" and also participate in numerous political projects and artistic, like the assault to a missile base in Italy with peace activists occupy a theater abandoned for two days and organize an anarchist party with 12 other bands, as police try to evict them, revealing the contents of a conversation between Tatcher and a commander of the British fleet during the Falklands War incriminating Tatcher a surprise attack illegal. Crass is banned by the BBC, it is ignored by the music press and never touches in places of establishment, but at house parties and squats concerts causes. The group decides to cease to exist in 1984 (for symbolic reasons linked to the book with the same name), but it represents the most committed and example more consistent with the idea of ​​anarcho-punk: political ideas embodied in production independent art and direct action to produce alternatives to the way of living with a real transformation.

The problem of "left" or "right" in the punk is quite complicated. If Sex Pistols have an "anarchist" behavior, this does not mean that they are consistent with the ideology in their daily lives. Therefore it is not so difficult to explain the swastika bearing Si Vicious and Siouxsie on your clothes, while she does Hitler gestures during concerts. This is a good example of provocation and contradiction of punk, which in most cases try to create scandals, challenge, end the "right" way to behave and not we can always find a political gesture behind. Here I have to mention the contradiction between the self-imposed alienation that most punks show and is its emblem before the world and the radical leftist utopianism, related anarchist movements. While some react to the world that excludes showing them anger or indifference, others try to fight for a better world. Anyway we have to conclude that the first wave of punk combat for the possibility of individuals to express themselves any way. At the same time it is a struggle of young people leave their position marginal and show the world their particular existence. The answer to the question of why the righteous punk born at this time we have to search socio-economic conditions of Western countries that leave a good part of their marginalized population, unloved and angry. England is in decline industrial and economic recession since the late 60s and common political consensus after the war, culminating in the welfare state, it is broken. The price increase oil at the beginning of the 70s leads the West to an energy crisis and consequently an economic crisis resulting in unemployment and inflation.

Young people do not have work or home and living subsidies. The United States also live a time of tangible political uncertainty with the Watergate scandal (1972-1974), the collapse of President Nixon and the end of the Vietnam War in 1973. Just during the explosion punk, in November 1976 80.000 people demonstrated in the streets of London against cuts in the public sector, and 25,000 walk in demonstration against racism. Punk is an expression of discontent and alienation common rabid. The punk scene is the platform expression of young people on both sides of the Atlantic where they seek to differentiate themselves from system that had marginalized them and find their own identity, showing his anger against the unjust reality around them. Why should not surprise speeches punk radicals that are a response to a world without future (the famous No Future is one of the emblems of punk), and they want to deform to make it more livable and more close to his own way of feeling.

We must differentiate from other punk subcultures that also try to give voice to marginalized youth. For its radical and forthright manner and expresses strong dissatisfaction, the punk differs from the hippie counterculture that had gathered revolutionary youth during the decade of the 60's utopian dream of peace and love hippies in the "rich" 60s can no longer represent poverty, inequality and lack of fulfillment in 70s’ crisis.

Punk as subculture

The most recognized book that tries to theorize the phenomenon of punk from a perspective Dick is the sociological Hebdidge Subculture: The Meaning of Style in 1979. Making a Marxist and class reading, the author wants British subcultures show after the war as a symbolic expression of youth cultures of the working class and as a way for young people to seek its place in society. Hebdidge adopts Marxist terms as a class and proletariat and tries to present the subcultures as the needs of youth to create new groups are distinguished identification of the culture of parents and seek their way of self-expression.

Taking the idea of ​​hegemony Antonio Gramsci, whereby the binding of some social groups can exercise total power over other subordinate social groups (Ie, according to which the ideas of the ruling class are the dominant ideas in moral and cultural values ​​of a society), making as if the power of classes ruling out legitimate and natural, Hebdidge subcultures considered as a challenge launched against this supposed natural order of hegemony. But this is not a direct way, but in terms of style. Barthes incorporating the idea that mythology is what keeps the things in their "natural" state creating myths that become recognizable signs, English thinker sees in the style of subcultures signs that contradict the myth of consensus the welfare state after the war and disrupt the normalization process. From a symbolic violation of the social order thus occurs.

These ideas are shared with the work of Hall and Jefferson who interpret the sequence of cultural styles youth as symbolic forms of resistance, spectacular forms of dissent that they characterize all the time after guerras. In this sense subcultures are seen as a specific response to reality. These authors believe in the separation of the society in dominant and subordinate groups and the complex relationships between different levels of the social formation, which is where the material is being performed in expressive form in cultures and subcultures. Thus youth groups begin to identify, rebelling against their subordinate status and building links of solidarity against the enemy.

Another very important part in the theory of subcultures Birmingham School is the importance given to the media. These play a central role in classification of the social world and to have colonized the cultural and ideological sphere. This way demonstrates how the categorization by the newspapers used / imposes speech of dominant ideologies. They also provide the basis by which groups and Classes build a picture of life, meanings, practices and values other groups and clases. Thus a perceived social cohesion is, that one can keep only through the appropriation and redefinition of cultures of resistance like punk . Using this model subcultures they are standardized and stop ideologically represent a problem for society. How then could counteract the subcultures that hegemonic power? They behave as noise, as the opposite of sound, an intervention in the sequence that comes from actual event and ends with their representation in the media.

The spectacular subcultures have the power to signify, are metaphors of anarchy and disorder mechanism semantic, a temporary blockage in the system representation. Transforming the idea of Claude Levi-Strauss that the "wrong" use of words has the power to provoke and to annoy, Hebdidge believes subcultures make problematic the definition of the world and therefore they represent a symbolic threat. However, media They react quickly to restore order and this process has two forms: commercial and ideological. The conversion is commercial signs of subculture (clothing, music) into objects of mass production and thus they become "understandable" makes they become part of what is acceptable as a commodity in the public sphere. Ideological understand the labeling and re-definition of the new generation by groups dominant and neutralizes the approaches known and thus their "otherness" domines.

Adopting another idea of ​​Levi-Strauss, the DIY, Hebdidge gives a potential more artistic to the explanation of the influence of punk. When the object is placed in significant another context a new discourse is constructed and a different message is sent. Examples of Similar practices in previous periods are the anarchic punk discourse collages and ready mades of Dadaism and surrealism, as well as situations situationism. Similarly in the DIY punk put together realities incompatible and this causes an explosion.

Speaking of punk, Hebdidge scores the power of this subculture to resist an aware of the "pressure" way by the ideology of the ruling classes. He is he first youth cultures working in England trying to create a critical space within the same subculture to counter the media coverage of communication that is often hostile and ideologically manipulated. In this way the alternative press in the form of fanzines and DIY ideology emerges as practices and alternative actions to the traditional way of doing things and create.

Later Hebdidge uses another term Levi-Strauss, homology, to explain his idea, which then receives a lot of criticism, according to which every subculture has an order exceptional: each part is organically connected with the other and thus the representative of the subculture gives meaning to the world. Symbolic objects such as clothing, cut hair, language, rituals, ways of relating and music form a unidad32 and cause noise in the crisis of everyday life in the '70s punk Thus the youth of the working class expresses its opposition to the dominant values ​​and institutions. Using the terms of the circle around the magazine "Tel Quel" and especially Julia Kristeva, Hebdidge defines the significant practices of punk as "radical" refer to the nothing and try to be "dumb", "garbled". This idea coincides with that of Guy Debord who believes that art must remain "non-interpretable" to save his subversive force.

In general Hebdidge interprets as a form of resistance subcultures in which contradictions and oppositions to the dominant ideology are represented in style an indirect way. This reading of the punk subculture removes as much of the revolutionary power. If we understand subcultures style only as causes scandals in the media and thus "upset" to society, then we can not find a potential for a truly alternative lifestyle and wants change the world. Accepting the successful party demonstrates the formation of groups identification and values, seems consistent view the punk as one of the experiences that most They approach to the definition of the counterculture that I gave at the beginning. The fact that there are still many bands, punk branches and groups who practice a subversive life and seeking alternatives to capitalism practices shows that subcultures, besides groups identification for young people outside the ruling class, have political power to think, discuss and make the world differently. If the term of dominant ideology still can be useful when we talk about the power of the capitalist system on all spheres of life, class idea loses its meaning in today's world. In the era of late capitalism each one seeks its way to build a way of life "comfortable" domination from above is increasingly fluid and becomes more of a market dominance. Then the class as such does not exist, there are different ways to consume within the capitalist system. By the other hand, the biggest criticism Hebdige coming from subsequent studies is the understanding of youth subcultures as a rigid, clear structure and its constant rules.

In its original nature, the punk culture has been mainly of individual freedom, which tends to create beliefs in concepts such as individualism, anti-authoritarianism, anarchism and free thought. The punk ideology very often contain a critical view of the world, to see modern societies that set limits on humanity. This ideology is often expressed through punk music. In the early 70's, the "punks" had a very different philosophy now, was to have that idea of ​​"There is no future" (no future, no future). That concept was pessimistic, desperate, destructive and aggressive towards society.

But now it has not been the same thirty years ago but still the very nature of punk.

• It can be summarized as "do it yourself", "do it your way" (in English "Do It Yourself").

• Reject dogmas, and not seek a single truth.

• Do not act according to the fashion and media manipulations besides being against consumerism.

• Think for yourself.

Punk, although started in some nuances being somewhat aggressive, consolidates by its present features in a form of social consciousness, philosophical and idealistic stream and nothing stylist.

The original form of punk was an expressionist form of transgression, seeking freedom from corsets aesthetic and oppression, authority and disagreeing in conventional society and social stigmas. The original punk did not give explanations and sought to embarrass the provisions crashing, offending and annoying, always being "politically incorrect" and the opposite of good taste, morality and tradition. At first it was basically a series of attitudes of esthetic and musical transgression (in clothing, hairstyle, etc.), rigged to a series of behaviors of daily disagreement, which were accentuated.

Later, especially with the emergence of hardcore punk, negligent or self-destructive demonstrations were losing ground, and was present a range of approaches with more conscious intentions, with emphasis on social and cultural criticism and political positions, associanisms and affinity protest campaigns.

Often associated with punk some political ideologies like anarchism, anti-capitalism, anti-militarism and anti-fascism. From politicized punk movement, there is a constant debate that makes criticism of those who are fans of punk for aesthetic or musical issues and put aside the social or political approach.

On the other hand, due to the transgressive nature and sometimes violent punk, there have been some groups in their music include a message or background of far-right court, although in general the movement is defined as closest to the left.

Musical features of punk may be considered the following:

Hardcore punk: It was the first evolution of punk in the late 70s, more extreme, faster and more aggressive. They highlight the first wave bands like Bad Brains, Teen Idles, Dead Kennedys, The Exploited or Discharge.

Crossover thrash: The branch of thrash metal with even more influence of hardcore punk. names are counted as D.R.I. or Suicidal Tendencies. This style has influenced thrash metal (Metallica or groups like Anthrax). Often also with high harmony and diversity of sounds.

or melodic Hardcore: based hardcore punk, fast rhythms and strong bases guitar, but with melodic vocal performances, initiated by Bad Religion.

Ska-Punk: The sound of punk combined with ska, with fast rhythms and use of instruments such as trumpets or saxophones. The most significant examples are in Operation Ivy who many point as the pioneers, Rancid, Ska-P, Skankin Pickle or Less Than Jake, several songs of NOFX and Propagandhi, etc.

Psychobilly: It's the mix of punk rock with rockabilly Some representative groups are The Cramps, The Meteors and Nekromantix.

Pop-Punk: musically more melodic and clean, he forgets anarchist ideals, it arises mainly in the United States, popularized in the '90s as part of the "second wave punk" bands like Green Day, Blink-182 and The Offspring.

Some themes may be considered the following ones:

Anarcopunk: groups that link their music with themes or anarchist practices.

Horror punk: is mainly characterized by its letters related to horror movies and series-B and the entire image that accompanies them, like zombies, ghouls, vampires, skeletons, etc. And with a similar image, using makeup, hairstyles (such as Devilock, popularized by the pioneering band The Misfits), etc. Some bands are Misfits, Creepersin and diemonsterdie among others.

CHAPTER IV. THE EVOLUTION OF MUSIC ACCESIBILITY. THE CRAZE OF INTERNET.

While innovative tools, improving methods of printing and greater access to music has helped develop a new kind of music called chamber music. As the name itself suggests, chamber music was meant to be presented in front of a small audience. Music was presented by several musicians with special tones of voice, vocal singing art starting to take hold of that of singing the instrument. Humanists teachers also believed that the best way to move the audience was to put together the art of music and poetry.

Today there are so many forms handy to access music and software online, safely and legally! Using sharing programs as they put the users at risk of downloading unwanted content, actually – viruses, pornography or violent images is. The installation program itself be sharing them may also compromise, privacy and security of data stored on your computer through open ports that without user approval and trafficked c with the outside using the information stored on your computer. You may violate the law and the consequences. Copyright law applies online for reproduction, sharing and streaming as on recordable CD / DVD. If you put music available to other persons or software programs in a network or sharing them as a site without the permission of the rights holders of shared content, then you can break the law and face serious sanctions. Using legitimate sites work rewarding authors. Copyright and related rights it protects those working in the creative industries is justifying them to be properly rewarded for their work and continue to create music, software and other content that we all enjoy!

There are plenty of sites where you can download music by buying tracks or albums (download), but also sites where you can listen to music online broadcast (streaming). You can buy music from online stores and websites telephony operators, both separate parts, and ringtones or albums digitally. They are handy and monthly subscriptions to sites where you can download or listen to music within the subscription. Some online services provide the opportunity to listen to free music, advertising, financing it.

Many people wonder which sites are legal where they can find computer programs? They can legally download software on some sites, especially producers. It is best to send an email to the software manufacturer, and it will indicate the legal source for obtaining it.

However, access to music has its riskiest parts. Thus, in general, can make a digital copy of the music purchased on CD for use by an individual, ie personal use without legal consequences, although technically implies to have permission of the rights holders. If purchasing music online, the provider will usually allows to make a backup copy for personal use on other playback devices. Distribution of digital copies, but on the internet or by a friend, acquaintance or by a stranger is something else. It is an illegal act and may have legal consequences.

It is completely illegal use of websites and file-sharing services? Illegal reproduction and making available as les protected by copyright without the permission of copyright holders on them. Theoretically, be it sharing system can be used legally, but in practice, most of the content is made available so illegally shared. If the sites do not explicitly states that have license from the right holders, then the only safe way in which you can use legally is to share material over which you hold the rights, ie music, software and other content created by you or for the rights of the owner's permission to do just that. Identifi ed as those sharing illegally? In general, those who illegally share as les do in public networks. Every device connected to the Internet is assigned a unique network at the time (usually assigned by your ISP you have subscribed), numbers known as IP address. Information on IP used at one time and data about the materials used illegally are either completely visible, as is readily available from service providers. Police inspectors can get from ISPs the identity of the person who has violated intellectual property rights. Under a court order can be carried out house searches and information. Rightholders affected by an illegal use of copyrighted content can thus be to sue violators and seek substantial material damage.

There are also websites in different countries that sell very cheap online audio tracks and music videos or sell illegal software contents precisely because those not paying anything for rights holders.

Over 70% of US citizens have access to the Internet via their mobile devices. Access to their content while traveling in other countries is part of their needs and expectations. Increasingly more Americans buying music and videos online, especially through subscriptions, a booming market. Thus, 30% of Americans who access movies, television shows and other online video pay to view or subscribing to an online service or, buy a them and renting them separately. Consumer spending for digital video increased by 400% between 2010 and 2014; Only in 2014, expenditure on subscriptions for digital video content have increased by 147%.

Personal consumption of music and 'film' via their various physical "careers" (CD-ROM, DVD, video etc) are increasing more through the Internet, now being a major ingredient of daily life, entertainment and education of most Europeans. Public libraries provide an important component of this offer but there are enormous variations in the levels of music stock and services provided. Only one European country (Denmark) mentions music in some form in the legislation on public libraries.

Long musical and film records are not digital analog. The Internet offers a new way of distribution. Music files can be immediately downloaded in MP3 format.

A large number of video resources are already available via the Web in Europe and worldwide.

Increasing availability pronounced music material on the Internet makes the issue by the public libraries of a set of guidelines that would allow users access to this material without violating the intellectual property rights in the context of new legislation European and global copyright to become the most important.

In this regard, it would be beneficial following good practice which concerns both public libraries and other environments.

One may  take advantage of the Internet and to advocate strongly for publishing guides and directories of national service online collections of audio-visual resources;

Also, one should take steps to provide the best possible services to ethnic minorities and people with disabilities;

Particular attention was paid to issues of information retrieval in their field. Existing standards should be applied in the individual bibliographic description and identification information retrieval in order to achieve interoperability.

to consider the possibility of introducing new information catalogs online, for example sound files, and to achieve more material available on-line, assuming the role of a producer of materials

From a technical standpoint, libraries will soon be in a position to offer users all kinds of records you want. But the economics are complex, as are the issues of copyright and copyright.

In future, there will be videos and music in the form of text, sound and image digitally exclusively by libraries, museums and archives, perhaps those created in a local or regional context. One should explore ways to improve easy retrieval of music resources and the feasibility of a single European gateway to music resources on the Internet. Also, it should be made and implemented a more extensive research agenda. One has developed a set of courses specializing in music librarianship framework for electronic era.

Guidelines for the provision of music exist in some countries at regional or local level, but this offer is at the discretion of local authorities. In France, for example, even if the gratuity supply and access to national and regional culture in libraries are determined by government statute, concrete progress towards this goal it has yet implemented in many cities and regions.

Many music departments in public libraries hold printed form of musical literature books on the records, performers, shows, styles etc. More rarely, they own sets of vocal and instrumental music. Elsewhere it was found a shift towards the idea of ​​setting up the sound archives or mediateques where the emphasis is on recorded and multimedia materials and where there is only little, or no printed material.

Funding sections music library has experienced a sharp decline in the last decade in favor of other expenses incurred by local authorities or other library services and investment in technology. In some countries the opinion that classical music is only for the "elite" has also contributed to this process.

Developed sharp audio-visual collections has raised hopes that they could self-finance loans by charging for music recordings. In Central and Eastern Europe, where economies are in transition, funding simply could not make the levels of the past. In other countries, for example in Finland, all services, including music and non-print materials, are supplied free of charge.

Training for music librarians remains limited sections, as there are only a few examples of developing innovative and pozitive.Existenta an international professional association (International Association of Music Libraries, Archives and Documentation Centres) is almost universally recognized as important both at national and internationally; the association's activity is focused on cooperation and professional development.

Standards for music and non-print materials, Internet services, staff and cataloging are clearly stated in some countries, while in others, these standards do not exist. The complexity of music, with its range of different formats and languages, with its countless arrangements of the same work or parts of the same work with its international dimension makes adherence to standards to be extremely important if data exchange. The immediate future lies in a broader cooperation within existing standards, and a common activity data creation and deeper.

From digital technologies perspective, musical and film records have long since passed from analogue to digital and related technology is now available to everyone. Digital technology and the Internet provide new means of distribution even if after Napster, major producers could begin broadcasting of music in this format or similar formats, although Intenet web security and e-commerce models remain major issues. Once the two issues resolved, and if there is sufficient bandwidth, Internet purchases directly from distributors and / or producers will become more widespread.

There are also few agreements on copyright interpretation between libraries and producers. Accessibility more pronounced materials music on Internet makes developing a set of guidelines by libraries to allow safe access users without violating intellectual property rights in the context of new legislation, European and world related to copyright, to become the most important . See also chapter on copyright.

The role of public libraries offer different models offered by the market. Musical assets held by most public libraries do not reflect the balance of trade sales. Especially public libraries prefer music "classical" or special bill and no music "pop" compared to the model proposed by commercial sales.

It has been said many times that some people use the stock of public libraries as a way of testing the market before buying. This argument is viewed with skepticism by industry discografica- part of it considering public libraries as a provider of materials for illegal copying. Usually, public libraries buy only a selection of new releases and keep them in stock over time (specifically, the required period) than music stores.

Access to a database regarding the music industry is today facilitated by the internet. An increasing number of individual music libraries establish their own web pages, or are mentioned on public libraries' main web pages. Online portals to collections and directories provide much faster access to specific information for all users, and are invaluable for those in remote areas or confined at home. National collections online directories, networked with public libraries, are vital. The national liaison services and catalogs of local music libraries are also important, because it shows whether local materials fits into the national context and inform local residents about what can and what can not be obtained locally.

A large number of video resources are already worldwide available via the Web, including newsletters, theater, music, archives television (eg events and old series), educational resources, parliamentary sessions and justice services financial and business, religious broadcasting and films uncut or 'shorter clip' sites. To run them requires special software: they can usually be downloaded free from the Internet. Public libraries can provide access for those without adequate opportunities to connect home.

Increased availability of digital technologies and inter allow accessibility to collections from their institution identical and the external world. A local catalog is as accessible as that of other libraries if available on the Internet; local digital collections are as available as remote ones.

Public libraries should consider the following possibilities:

Introduction of new information, eg audio files, traditional catalog

Providing on-line to existing equipment, new and old

Assuming the role of producer of materials

The music industry is today one of the most powerful and fastest growing sectors of the world economy, not only as a particular sector within the set of the I.C. but also as irrigator products are used by the rest of these sectors, and as a component of other industrial sectors such as consumer electronics, advertising and telecommunications . However, in recent years the music industry has been experiencing a decline in global sales of phonograms . For example, in 2003 the worldwide sale of phonograms was 2,782.6 billion units sold (Singles, CD and DVD) and 2699.6 billion euros billed, and in 2004 was 2,755.7 billion units and 2,620.2 billion euros billed , representing a fall of 0.4% in units sold and 1.3% in turnover . Interpretations of this decline, as stated by the associations representing the interests of multinational record companies such as the International Federation Phonographic Industry (IFPI) and the Recording Industry Association of American (RIAA), mainly due to the impact of commercial piracy CD, private copies of them and made free music downloads on the Internet . However, according to the latest report from the IFPI (2006) on the digital music market, despite the drop in music sales in traditional physical media (LPs, cassettes, CDs) in 2005 they were unloaded 420 million songs online through distribution platforms and marketing of music, twenty-fold increase compared to 2003, and representing 6% of the global music market. Moreover, in 2005 the commercial music platforms increased to 335, when in 2003 they were only 50, and the total number of songs that the record companies offered on these platforms is between 1 and 2 million catalog depending on the platform while users who paid to these commercial services already exceed 20 million worldwide

The music industry, along with the fields of electronics, telecommunications and software companies are taking advantage of the features offered by the new networks and digital technologies, given their reduced storage costs, distribution and marketing and greater geographical spread these enable to establish new digital music markets. In this context of increasing technological convergence between on the one hand, TV networks by cable, satellite and digital terrestrial, and secondly, telecommunications networks and the Internet, the major record companies, as part of an overall strategy group multimedia they belong, they begin to revalue its music products digitizing and distributing them through these new "networks-market", with the aim of establishing new digital music markets globally

Now, well according to the main hypothesis we argue in this paper, an important factor to keep in mind about the decline in sales of music on CD is that this support, dominant until today, has now entered its phase of decline and it is currently being replaced by new digital products, such carriers as portable music players MP3, computers themselves and hard drives, DVD, digital USB drives, mobile phones, and fundamentally the recent launch of distribution services and marketing music over the Internet.

If we analyze the chain value of the music industry in the digital environment we see that they are incorporating new elements compared to the traditional value chain, as well as the creation and music production, it is necessary to implement new technological infrastructures music scanning, storage and distribution, together with new marketing systems, collection and management of rights to musical products. Thus, the chain of actors involved in the digital music market is extended, as some sectors that traditionally did not intervene directly in this sector now become part of the value chain, such as new intermediaries and companies hardware and software that provide distribution platforms and marketing of music, charging systems and rights management (DRM or digital rights management), operators of digital networks (telecommunications providers, Internet access, radio and digital television), more traditional agents, such as the electronics sector, which are becoming increasingly more weight within the music industry

In the digital environment, the role of artists and creators, record companies and publishing houses remains the same, and are incorporated into the value chain platforms commercial distribution of music (called also Third Party or Third Partly On Line music Stores), such as the web platform of Apple iTunes or the web platform Napster, which maintain distribution agreements and marketing of music with major music companies multinationals.

The new models of distribution and marketing these platforms are developing in the digital environment are based on historical models of funding for sectors of the IC, ie direct financing through payment by product and indirect financing through advertising. These two basic forms of financing are complemented today with a new business logic on the rise, called "club logic or access", discrimination based on access to the music scene after the payment of goods and services by users. This new logic is now the prevailing logic of access to cultural production in general and music products particularly in the digital environment .

Specifically, new business models that record companies are developing payment are based primarily on downloading or receiving music online through trading platforms, in advertisements present therein, and also in the download or receive music on mobile devices such as phones, MP3 players and even personal digital assistants (PDA). Now, the two basic business models being developed through commercial Internet music platforms are:

Model Pay Per Download (Digital Download or "A la carte") consisting of direct payment by the discharge of all or part (micropayment) of musical product, either a complete musical album or song.

Model for Subscription (Streaming Subscription Model): consisting of the payment of a monthly fee to access the service reception music, without the right to discharge.

Other complementary funding models are as follows:

Advertising Model: is the sale of advertising space within the trading platform, which labels are advertised, artists and releases new albums are promoted; and other products.

Model Webcasting: is a variant of the model by subscription, and is receiving music through stations thematic digital radio dedicated to music, some of which will come integrated music players on the Internet (Jukebox).

Network Marketing or Network Marketing: is the commercial use of information obtained from users of trade, such as navigation routines, music consumption habits and purchase of products, from which platforms bases are made data which is then marketed.

Electronic Commerce: is a variant of the general payment model, and is using the platform to record sales in physical support, as the Amazon.com platform, through which the sale is made (by request and payment) of music (in addition to any other cultural product) disks, and where the physical layout of the disk (off line) is done by mail.

The major record companies, given the logic and dynamic that presents the music industry, are mainly focused on the launch, promotion and distribution of a limited number of musical products on a global scale on which concentrate their higher income, which tends unfailingly towards homogenization of music dominated markets in which products with very similar characteristics. Moreover, in the market of online music in particular, as in the traditional market, the music industry has an oligopolistic structure where the distribution and marketing of music focuses on two major platforms through which the majors distribute their music products. Thus we see that in the online environment greater concentration of distribution of music to an even larger scale products are produced, with the dominance of a few easily consumable and quickly salable products, thus increasing deterioration "catalog effect" traditional music industry and weakening the national and local industrial fabric of Small and Medium Enterprises Record Labels (PYMED).

The music industry has experienced over the past decade one of the biggest cultural revolutions in history, strongly motivated by technological advances and new processes of production, distribution and consumption musical that has resulted. The first decade of the century has seen the music industry as we knew it has had to deal with such decisive events as the MP3 revolution, accelerating Internet, new digital recording systems, piracy, portals music (Pandora, Last. FM, Spotify), social networks (MySpace, YouTube), the boom of festivals and live music, or generalization of netlabels, these record labels distribute their music in digital formats through the network and often free. This set of phenomena have made the music is being perceived increasingly as a paradigm or axis of the new models of production, distribution and consumption in the digital age and as a key agent in the processes of contemporary subjectivity, leading to a situation where each new news related to some aspect of the music industry is rapidly becoming the cynosure of all eyes, either by the musicians, the public, employers, or those responsible for other industries in the cultural sector (cinema own , video games, television, advertising, etc.). So, the music, with its constant changes and metamorphoses in the XXI century acquires paramount importance to understand the new cultural dynamics in a world increasingly governed by the sign-and designio- digital and flows information, knowledge and entertainment circulating at all hours for Internet networks, place / non-place where we observe one of the most important aspects and more media and popular impact has aroused throughout this decade: the practice of music downloads.

All this makes the image we had of recorded music as content linked to a continente2 especially following the generalization of "popular music" taking this expression in the Anglo-Saxon sense of popular music, that is, those music directed to the general public and linked to the record industry and the media-, is being replaced or removed directly benefit compressed music files that do without these elements providing only the musical content. While it is true that some of these files are accompanied many times folders with scanned images of album cover, interior design and sometimes the own lyrics, do not cease to remind us of the intangible aspect that the product musical acquires today, putting in crisis the format that has dominated almost all the musical artistic production since the middle of last century: the "musical album". Indeed, the digital age is increasingly characterized by a growing dematerialization separating the hardware of the content. All material artifacts that once were associated with our practices of access to information (books, newspapers, paintings, records, photographs, films, etc.) losing ground to the tools that dematerialize to incorporate the digital world and make them circulate between networks, eliminating solid character. This has happened with the music that we consume through downloads or streaming services, which go against the idea of ​​the album as "record text" in the sense that gives this expression Paolo Bertetti, that is, the disk while "sound object carrier sense which is articulated in its same components ", these components being the musical itself, the graphic-visual (the cover, designs and images on the disc), the verb-visual (the lyrics) and objetual (the phonographic support). Therefore, the record text is "a syncretic text, the fruit of the union between a musical component, a verbal component, a visual component and an object-based element, where a greater or lesser extent, all come together in creating an effect of concrete sense " . It is this effect concrete sense what is lost with the increasing dematerialization of music in the digital age, a sense that we find both in terms of content and continent. Because the continent acts in the traditional record text as a semiotic device that created an affective and emotional bond, moved by music that can "look", "touch" and "smell" and works as a substitute for own immateriality music, ie, as a sensory extension (touch, sight, smell) something that is essentially pure sound. In this regard, the record text can be understood as a "synesthetic space" forming a hybrid and complex sensory image, contamination or "multi-sensory cognition" which takes place from the musical experience as a whole . If we deprive the music of this multisensoriality record that emerges from the text, we are depriving a fundamental component in our modes of access, relate and communicate with her.

Romanticism and record collecting in the Age of Access

The widespread practice of downloads and streaming listening highlight the fact that in today's society increasingly access rather than the property is more important. Not by chance economist Jeremy Rifkin US (2000) christened our time as "the Age of Access", in the sense that buying material things and having properties is returning obsolete, because in a world that moves at the speed of light, where everything is interactive and is in continuous change and metamorphosis, which is imposed as a rule is direct access to all through the vast networks operating in cyberspace. The music is dematerialized benefit of access that allows us to have all the music you want here and now, a click of a mouse, a music that comes to the speed of light and promotes listening great swift and terrible measure, as unlimited access and the possibility of a constant and music available everywhere, as currently found on the Internet, have important consequences for consumption, listening and music appreciation itself. Among them is the very fact if extreme availability of sound product thanks to the Internet, eliminating the effort that had to be done prior to "deserve" (for "travel") music, does not contribute to "blunt the sensitivity and reduce music to an object that is no longer 'hearing' conscious, but background noise 'perceived' as usual complement of other domestic operations ".

The same Umberto Eco perceived following the birth of recorded music, it has only generalized over the years. First with the radio, the Eco own also examined, pointing out how their consumption would inflacionado music listening to the point accustom the public to "accept music as sound complement their own domestic activities, avoiding listening carefully and critically sensitive, finally inducing habituation to music as sound track of the day itself, "and later with the new forms of musical consumption derived from the digital age, such as CDs, MP3 files, portable music players, downloads and now streaming music directly online. All this makes for some generations the culture of music has lost much of its romance, observable for example in the act (for many ritual) to go to a record store and buy a vinyl, cassette or CD, this "journey through music" which Eco called. Many record stores have been forced to close their business before the emergence of the digital universe (downloads, online stores, streaming) and to the aggressive policy of large retail chains (FNAC , El Corte Ingles, Media-Markt, etc.), which have been made with the absolute control of distribution and physical record sales. For many consumers and music lovers, the tangibility of the disc, that can be felt, is part of its charm. It's what we said above about multisensoriality the record product, which allows us to relate to him beyond the strictly musical component, raising new and strange associations between the product and our senses, making the album a true "synesthetic space." The tangibility of the record product also has a strong element of nostalgia, as many records relate them to some special time or particular stage of our life, or simply are able to remember the place and the time when we bought it, whose memory is recorded in our mind in the form of "attachment" to update when we return to see, touch, smell and listen to the album in question. In this regard, Katz cites the example of a girl of 22 who points out how by practicing downloading and listening to MP3, I lost part of nostalgia involved buying and listening to music. For example, I can hear my CD Flaming Lips and know that I bought it the week after my 15th birthday, during my time "alternative" in high school, but I can not do this with MP3. I have acquired many songs at a pace so fast that listening to this music just reminds me sitting at my computer first and second year [at the University]

On the other hand, some consumers may perceive downloading songs or listen to streaming not as an end in itself but as a means to decide whether to buy the album or not. This makes the consumer has the opportunity to try the product before buying and, more importantly, for the first time in history no longer be the last to hear about new releases, it is able to listen to new albums artists before they go on sale officially and that traditional media Armen their criticisms and value judgments as befits its role as "judges of taste". Now, thanks to new forms of music distribution provided by new technologies, consumers can be your own "expert" and use digital tools to judge and decide whether to buy the album in physical format or continue consuming digitally.

While we can not deny the advantages relating to this new situation, especially in relation to the greater freedom of judgment and choice that generates in the listener, able to hear the product before buying it, to try and "test" the disc from distance and comfort of home, seems to cancel or reduce that element of spontaneity, chance, excitement and surprise that meant going to a record store without knowing exactly what you were going to buy, an act that often resulted in the acquisition of discs groups that did not even know, moved only by a title, a cover or a suggestive and attractive design, whose signs we encouraged to think that inner music (unknown, imaginary, virtual) could be a great discovery for our ears. Or that other, near serendipity, random time searching the record of a particular group, rummaging through the mountains of vinyls and CDs, we discovered another unexpectedly, a group or disk unconsciously knew something but did not remember very well the what (a song on the radio ?, words in the mouth of a friend? …), a music that was there for us, casually, but also, necessarily. Thus, the "expert" listener who comes into the record store (retail space, rather) having already tried the product, is deprived of this spontaneous and vibrant, Auratic even element, because the secret has been already revealed, the musical veil has been discovered, losing the romantic and nostalgic aura associated with risky purchase; special mention the case of record collecting, where the materiality of music reaches an extreme degree that can even lead to the " addictive disease " , to compulsive buying records and more records for the sheer pleasure of accumulating, being the physical device itself and the rarity of the acquisition which is most valuable to collectors.

A typical example of a collector is found in Rob, the protagonist of High Fidelity, the novel by Nick Hornby, for whom the discs (buy them, collect them, sort, rearrange, listen, touch …) are his life: "My life is mine, is this, and it's nice dive into it up to his elbows, fingers touching " . The materiality of the disk works here as immersive metaphor able to take the listener to a kind of physical "bath" touch, which makes you immerse yourself in the music and objectuality so ecstatic, multisensory and profound. The discs work in the collector as an extension of their personality, as an image of their identity, inseparable and narrative. No wonder, then, that in the age of digital downloads and MP3, specific generational segments feel nostalgia and romance of this record collectors (observable in the ¿fashion? new vinyl collector) and embark on the search for new discs, of new pleasures, dangers and adventures, hunting of these unique products capable of giving a sense of self through a materiality technically reproduced and yet unique; a materiality in which enter and immerse themselves in order to reach the very immateriality of music, its flow and float in time and space.

CHAPTER V. MEMORABLE EVENTS IN THE HISTORY OF THE AMERICAN MUSIC AND THEIR ICONIC PROTAGONISTS.

The United States are often considered a kind of cultural crucible capable of generating new styles and methods of expression from the elements and influences belonging to the most diverse cultures. Although some aspects of American music can be traced to their specific origins, there are musical elements for which it is difficult to establish what exactly their derivations; this due to the constant evolution that US music has suffered as a result of multiple hybridization techniques, genres and instruments. musical elements belonging to foreign genres have come to the United States both through formal channels, such as education or the shows, and through informal channels, such as the accidental transplantation of West African music through slavery, or of Irish music through ' immigration. The most typical American music is the result of intra-cultural mixing took place by direct contact. Slavery, for example, has meant that people belonging to different tribes lived in close contact in the same neighborhoods and this has produced an extraordinary fusion of traditional genres, enriched by elements of indigenous music, Latin and European. Ethnic, religious and racial have created mixed genres such as, for example, the Franco-American music of the Creoles of Louisiana, the European fusion of Mexican and Tejano music and totally hybridized music of modern Hawaiian music which is typical use of guitar with slack-key tuning.

The American Music was marked by important personalities of which the following will be reminded: Michael Jackson, Kurt Cobain and Elvis Presley.

5.1 The legacy of Michael Jackson

Few years after the death of Michael Jackson, King of Pop, his legacy rather than force, and production around the artist's career that still is being discussed.

The world shook when the Internet was released the fateful death of the singer amid preparations for what would be his last tour as an artist, which bore the name This Is It and I intended to travel to dozens of countries.

The affection and sadness were not expected at a time when the Internet and social networks act as communication tool with the creation of links to high speed and bringing people together no matter where they are, but this phenomenon was only the beginning of a wave of event occurring after the death of Jackson.

Despite no longer be present, Jackson was recognized as the artist who sold during the year of his death, to reach 8.2 million albums sold, which included the release of the album This Is It, based on the documentary of the same name showing the last days of life and work of the artist.

The producer and choreographer Kenny Ortega, who worked closely with the winner of 13 Grammys, was commissioned to release the film This Is It, which contains valuable material showing the trials and moments experienced during the preparation of the tour it did not materialize. The premiere of the film and the album release generated higher sales to 250 million dollars and then the agreement between the heirs of the singer by another 250 million dollars for the operation of 10 musical projects were given.

In August 2014, five years after his death, social networks became to shake with the release of a music video that was posted on the official Twitter of the interpreter, where they unveiled the theme A Place With No Name, although the images belong to recordings of the late 90s.

In December 2014 there was released the Michael album, which included 10 songs, including Best Of Joy or Hold My Hand also toured the social networks as a novelty in the late artist's career found.

Compilations and shows continue to put the name of Michael Jackson in the media, as was the case of One, show the renowned Cirque du Soleil (Circus of the Sun), which commemorates the artist's life from his beginnings with the Jackson Five, until his last days, with the seal of quality and emotionality of the Canadian company.

Myths and speculation about the productions that are not yet disclosed and the actions of his family after his death, still fill the tabloids worldwide and is expected to new songs recorded before being released even in 2017. And the legacy of Michael Jackson is more relevant than ever: their songs are remembered by a generation that was also marked by her dancing, dress and even scandals, but instantly recognizable creativity note or dance step of the "King of Pop".

Before starting with the documentation, we must rescue Michael Joseph Jackson, was is and will be one of the most prolific musicians in all fields and styles ever known. It should be noted that, since not doing so would be unfair and ignore the heritage not only musically, but in all areas covered by art. Some of these data confirm and do not fail to arouse a degree of admiration or surprise:

More than 740 million albums sold

Over 450 Awards received (Artist more award-winning story)

More than 300 million dollars donated to charity and charities.

It was always a very private media figure, giving only to know his thoughts by reports within the same public ceremonies had recourse to them. Rarely he was seen talking to some press media about his life, analyzing or giving political opinions or anything else beyond his art. Michael Jackson had an innate innocence that caused constant problems with the media. The press took advantage of this weakness to approach him, forcing malicious questions and use his statements against manipulating and bending his statements. Human beings tend to have in many cases a morbid, fastidious and biased nature. And the sensationalist media before the hermetica privacy singer, like any human being, he kept on his life; He aroused even more interest in journalists. Many of them lost their "humanism" in the insatiable need to get scoops and increasingly bizarre to meet these basic needs headlines.

Michael Jackson is a global phenomenon, a figure a little obvious , but his legacy was not limited to musical level, but also in the cinematic. The singer always try to go a step further in entertainment. The images of their audiovisual works marked an era, they never came to incorporate techniques used so far. With the video "Black or White" Michael Jackson invests money in research to create and develop a visual effects never seen before. Contributing to the film industry the "Morphing" effect Note that without this effect, movies like "Terminator 2: Judgment Day" (scenes of liquid metal Terminator). "The Mummy" (Effect of particles and morphing mummy) to "Titanic" (with transitions Morphing between the sunken ship and the era, and the transition from character Rose from young to old) never had been so same without the valuable contribution of Michael Jackson to the film industry. He worked with the greatest Hollywood directors: Scorsese, Coppola, Landis, Lee, Spielberg, among others. In many cases helping to increase its popularity and put them in the crosshairs of majors.

This image shows the amazing power that Michael Jackson possessed multitudinous to mobilize masses of people all over the world. Note, the spiritual and emotional level that caused in people of all ages. Something never seen before and only comparable to the hysteria that was generated with the Beatles or Elvis Presley. It is recorded by the Guinness World of Records and recognized by leading critics of matter as the "most successful and charismatic artist in history."

A phenomenon that will be impossible to repeat or see again. Michael Jackson widely outsold and records to "The Beatles", "Queen" and "Elvis Presley.

It would be impossible to define in such a small section to Michael Jackson. Speaking of professional and personal career of such a large would demand a long time being. But leave something to add, words and Records unable to show, without explaining feelings, prejudices without toppling … Sometimes, it becomes an arduous task trying to open the eyes and minds of those who grew up and were educated under prejudice, rumors and a lifetime of media lies. However, we will make the attempt. And never renounce to continue a mission where truth prevails. Where right and noble reveal capriciously in a system which would not seem to fit. Michael Jackson was, is, and will be one of the greatest artists who gave birth this planet. A person nominated 3 times a Nobel Peace Prize. A man who dedicated his life to being a humanitarian, to heal the world, teaching principles, promote equality, an international ambassador of what it means to be a "person" … a "human being".

5.2 Kurt Cobain’s death

The singer Kurt Cobain committed suicide in Seattle on 5 or 6 April 1994, at 27 years old. He was born on February 20, 1967, in Aberdeen (Washington, USA).

In late March 1994, he entered a detoxification clinic in the Exodus Recovery Center in Marina del Rey (California), after several negative. On April 1, he fled the center and no more news of him had. His wife, Courtney Love hired private detective Tom Grant to find his whereabouts. On April 8, 1994, Cobain's body was found in his Seattle home by an electrician. The date of death was estimated by experts on 5 April 1994. The official cause is suicide by gunshot wound, preceded by a strong heroin.

For most of his life, Cobain suffered from depression, chronic bronchitis and intense stomach pains, never accurately diagnosed, although it is thought a likely ulcer. The latter issue had a particular weight on his emotionality. After many years searching for the cause of such pain, none of the doctors whom he consulted was able to define an accurate diagnosis, giving hypothesize a probable consequence of scoliosis which was sick as a child. Disappointed with doctors, and out of curiosity, Cobain tried heroin. He had his first experience with this drug in late 1990. For months took an occasional basis and gradually became a dependency. In late 1991, the chronic abuse of heroin and began to influence his promotional tour Nevermind, where Cobain even fainted during a photo shoot. During the concert on Saturday Night Live, the singer appeared eyes with pupils classic pin, due to miosis caused by heroin, and sleepy and haggard. Another unmistakable sign of his drug addiction was that he weighed only 45 kg. Symptoms of dependence gradually increased, and with them the need to increase the dose. In this period, the singer and his wife were spending a minimum of $ 300 a day to meet such a need. In order to avoid the crisis of abstinence, they began abusing drugs such as Valium and Roipnol. Relations with the rest of the group became tense, as Kurt skipped tests. Also in this period he suffered from phlebitis and severe infection in an arm Kurt contracted by a piece of cotton that was on the needle of the syringe. He tried a first detoxification in early 1992, shortly after Courtney Love told him she was pregnant. After rehabilitation, Nirvana went to his Australian tour, during which Cobain suffered the crisis openly withdrawal. Shortly after returning home, I again had a relapse with heroin. Before an exhibition at the New Music Seminar in New York in July 1993, Cobain had overdosed on heroin. Instead of calling an ambulance, Courtney Love injected Narcan (naloxone) acquired illegally, in order to remove it from its state of unconsciousness.

Doubts about suicide and other assumptions

Although the official cause of death is suicide, still remains the doubt and many people are convinced that he was killed by Eldon Hoke. The latter said in his last interview that Courtney Love had offered him $ 50,000 to kill Kurt Cobain. Hoke died a few days after this confession, colliding with a train while drunk. Others, such as the private detective Tom Grant, believe that Michael Dewitt, Kangaroo Frances, was the one who killed Cobain. There are several elements that indicate it could have been killed:

has not been found any digital printing gun suicide.

The position of the weapon on the ground.

In a toxicology report it mentioned that "the level of heroin in Cobain's blood was 1.52 milligram per liter".

Tom Grant (private detective) states that Cobain could not pull the trigger after such dose has been injected. The detective is convinced that the Nirvana singer did not die from the dose of heroin, but suggests that the drug could be used in order to neutralize Kurt ability to simulate suicide.

Specialists conducted a comparison of signatures from the suicide letter, and found several differences.

While working for Courtney Love, Grant had access to the letter of the letter Cobain's suicide, and used his fax to make a photocopy. After studying the letter, Grant believes that it was in fact a text where Kurt announced his desire to leave Courtney, leave Seattle and music. The detective believes that a text underneath the lines, plus separate, are just a part that suggests a suicide. He believes that as these lines are written in a different style from other letters, was another person who wrote them. The official report concludes that the letter was written by the singer, but Grant adds that this conclusion does not take into account the last lines.

Courtney said she had found a letter under his pillow, but there was nothing there.

an audiocassette of Courtney Love in which the fact that the benefits of Nirvana mentioned increase was found.

they were about to divorce.

The police report mentions that did separations at home, but the electrician who discovered his body had only to turn the knob.

After the death of Kurt Cobain, Courtney insisted that her husband overdose in Rome was a suicide attempt. Tom Grant believes after Cobain's death that this rumor was created because same members of Nirvana (Gold Moutain) confirm this.

5.3 The legacy of Elvis Presley

Elvis Aaron Presley was born on January 8, 1935, in the town of Tupelo, Mississippi. He was a singer and actor, considered one of the most popular of the twentieth century, had a versatile voice and unusually successful in many genres, including country, rock, ballads, gospel and blues. It is the soloist with more sales in the history of popular music. Nominated for 14 Grammys, which won three and received one in recognition of his artistic career at the age of 36, as well as appearing in various music halls of fame.

Just one year later, Elvis returned to Sun Records studio in order to record a second private album, which would include the songs "Love for sale" and "Never will stay on your way." It was precisely these interpretations which would open the path to fame and success to attract the attention of Sam Phillips promoter.

1956 was a decisive year in the career of Elvis, as recorded for the first time in the New York studios of RCA version of the song by Carl Perkins Blue Suede Shoes as well as 7 more selections for their first LP with the prestigious American company . In that same year, her hit "The Heartbreak hotel" made him a millionaire selling albums. It was precisely because of his charisma and talent as a performer, one of the major film companies decided it was worth capitalize on its success at the box office theaters with his first feature film, originally titled "The Reno Brothers," but renamed " Love me Tender "in honor of one of his most heartfelt songs.

Already since 1955, and he is following that Elvis started working with Colonel Parker, and the famous Scotty Moore, Bill Black and DJ Fontana, marketing showed up. As expected, at concerts they began to sell all kinds of souvenirs: ties, balls, hats, shirts, socks and whatever end of the century form an indispensable part of the tour of any rock group that claims to his fame.

On March 24, 1958, Elvis Presley joined the army of the United States of America, burying with it what would be his most interesting as a singer and innovative era. Allocated recruits Fort Chaffee in Arkansas, the idol of the young women of the fifties allowed to cut off the forelock. Unfortunately, the image of security proposed proyectarle the world began to collapse on August 14, 1958, when at the age of 42, his mother ceased to exist. "I lost the best he had" told reporters the day when reporters confronted him with their microphones. In the distance is difficult to say that the army was the one who became man young restless hips and envaselinado pompadour, the truth is that Elvis returned home transformed with the girl he loved, with a stepmother and habit sleeping pills. But none of this, not even his lack of concerts, affected the affection that his fans had for him.

With the birth of his daughter Lisa Marie, Elvis's popularity received a new ascent. From that moment, the lyrics of the songs he sang became filled with love poems, experiences, substance and reality. In this third stage their biggest hits were songs such as "Suspicious Minds," "In the Ghetto" and "Burning Love". Priscilla, meanwhile, consoled rumors furtive appointments Elvis with his fans understood with karate teacher of her husband.

Elvis went from depression to schizophrenia, melancholy to hyperactivity, kindness to anger and hysteria, of its 70 kilos of weight to the more than 115 who isolated on the walls of Graceland.

The few personal appearances Elvis made at that time went from bad to worse. On stage, it seemed that he did not care, neither music nor his image, and his long monologues that every day became more incomprehensible. There was no doubt that the King was physically, spiritually and emotionally seriously ill. A few days before his death, Elvis no longer coordinated their ideas; Memory lost and fell into incoherence. It was so Tuesday August 16, 1977, at 2:20 pm, Joe Esposito, Elvis' manager and administrator, decided to appear in her room to finish fixing with him regarding some concerts he was organizing. Not finding him in his bed, he went to the bathroom, where he lay on the ground.

Upon learning of the death of the king at age 42, the world changed its pace. In England there were those who spontaneously dressed in mourning. In Paris, "Le Monde" paid posthumous tribute to him and Japan speakers wept openly at the microphone. Fans arrived carloads to Graceland to join the funeral procession to accompany Elvis to his final resting place. "The King is dead, rest in peace," was the chorus was heard in the hearts of his followers. A story that, although altamenteimprobable, helping to fuel the great myth of Elvis. And it is that the figures speak for themselves. Presley tops the list of highest grossing deceased artists. Since the eighties, sales of his albums has surpassed the 1,000 million copies sold. Not to mention that his mansion, Graceland, is the second most visited of the United States, behind the White House.

Undoubtedly, the greatest legacy of Elvis was the music. The King of Rock and Roll even recorded 150 albums during his career, was nominated 14 times for a Grammy, and inspired many other artists, including John Lennon, The Beatles, which was in its early stages one of its main devotees.

Dozens are devoted to the songs Presley, along with his toupee and pelvis movements, as an icon of popular music of the twentieth century. The single that launched him to fame was "Heartbreak Hotel", number one on the charts, to quickly reach ten million copies in a year. This was a turning point in the popularity of Elvis, who that same year he made his film debut with the film "Love me Tender", which bears the same title as the title track for the soundtrack. The artist came to star in 31 films as an actor, many with blockbuster.

Some of the most important songs of the artist, and are available on video "? What were his favorite Elvis Presley song" La Vanguardia.es are "Jailhouse Rock" (1956), "Hound Dog" (1956 ), "Do not be cruel" (1956), "Blue Suede Shoes" (1956), "A little less conversation" (1968), "Viva Las Vegas" (1968), "Love me tender" (1956) "That's Alright" (1956) or "Suspicious Minds" (1973). He had a transgressive choreography .

"The rock is the music of the devil" is the message conveyed to the Protestant Church faithful to refer to the musical genre that was triumphing Elvis Presley. In this "AntiElvis" campaign soon also he joined the Catholic Church. The epicenter of all these criticisms was the way the King of Rock unfolded on stage, with a wave of sensual and provocative hips someone wryly dubbed "Elvis the Pelvis". But his followers were stronger than his detractors, proof of this is that some newspapers of the time highlighted that to be a fan of Elvis had nothing to do "race, color or creed." Even the Government of the United States issued a report artist, once dead, they highlighted the following: "Elvis clearly embraced African-American music and culture and did change the culture in American history."

Elvis was not just a mass seductive but also he had a female audience. On the artist's reputation as a womanizer is Alanna Nash's book just published on the occasion of the 75th anniversary of the birth of the artist and entitled "Baby let's play house" (Nena, let's play at home). The writer in the gory story includes details about Presley's predilection for young girls such as the "slumber parties" who organized in his mansion. His wife Priscilla Ann Wagner was only 14 when he first met her.

A vision that Peter O. Whitmer matches, author of "The Inner Elvis", which states that the death of Elvis's twin brother at birth conditioned the artist who always sought a partner for life without success.

After returning from military service in 1958, the career of Elvis begins to lose strength. From then recover the popularity timely manner with songs like "Suspicious Mind" (1969) or historical concerts. His last years of life, married Priscilla Beaulieu, lived obsessed by his obesity against which used diet pills that probably favored his premature to death 42 years old. Some say that ate the food because it was victim of anxiety. At the time of his death he weighed 117 pounds singer.

According to the official version, Elvis died of a drug overdose. His personal physician, known as Doctor Nick, was accused of prescribing "consciously and criminal" too many drugs. In the last months of life Elvis came to consume 19,000 doses of different drugs. But just after his death on August 16, 1977, a man with a strong resemblance to Elvis, named John Burrows, the pseudonym he used the artist when he was traveling, was seen buying an airfare to Buenos Aires. So could the death of Elvis have been falsified? Perhaps the best answer is that with the disappearance of the King of Rock and Roll was born a myth destined to live for eternity. The US music can be characterized by the use of syncopation and asymmetrical rhythms, by long and irregular melodies that say "reflect the wide and open geography of the American landscape and the feeling of personal freedom typical of American life." Some particular aspects of American music derived no doubt from traditions and African instruments; It is an example of the call-and-response structure that involves alternating between a soloist and a chorus of many voices, where the sung phrases form of real dialogue, to verbal interaction imitation (or not) that takes place , in several African countries, during public meetings, in religious ceremonies or in business discussions.

CONCLUSIONS

Since the beginning of the history of American music, until modern times, the relationship between the US and European music has been the subject of much debate among scholars of American music. Some advocated for the adoption of technical and closer to European styles and somehow considered as more refined and polished, while others were in favor of a form of musical nationalism that celebrated in a clear and distinct American traditions. The modern classical music scholar John Warthen Struble has set itself in opposition with both the Americans and the Europeans, claiming that the US music is inherently distinct because they, as a nation, have not had centuries of musical development. Indeed, the US music is that of hundreds of indigenous and immigrant groups, each of which was first developed at the regional level until the American Civil War brought together people in armies from all over the nation, allowing a cultural exchange of genres and musical practices. Struble deemed the ballads of the Civil War as "the first type of American folk music that has very specific characteristics and which are identifiable only with America: the first truly American music, distinct from any other regional foreign derivation music"

The US music can be characterized by the use of syncopation and asymmetrical rhythms, by long and irregular melodies that says "reflect the wide and open geography of the American landscape and the feeling of personal freedom typical of American life." Some particular aspects of American music derived no doubt from traditions and African instruments; It is an example of the call-and-response structure that involves alternating between a soloist and a chorus of many voices, where the sung phrases form of real dialogue, to verbal interaction imitation (or not) that takes place , in several African countries, during public meetings, in religious ceremonies or in business discussions.

The mixture of musical genres from different cultures lends partly critical. For example, in the mid-twentieth century, the revival of folk music has appropriated the music of the rural population in part to promote certain political causes, and many have wondered if this has not caused the commercial commodification of other people's songs and the inevitable weakening of their meaning in the original context from which they come. The issue of cultural appropriation has been of great importance in the racial issues in the United States. The use of white Americans of musical techniques, images and concepts typical of African-American culture had spread since the middle of the nineteenth century, when they were popular songs of Stephen Foster and the minstrel show. The music industry has tenaciously tried to popularize the white performers of Afro-American music, since these would be more palatable to most Americans, particularly the middle classes. This trend has produced several great artists such as Benny Goodman, Eminem and Elvis Presley, as well as popular genres such as blue-eyed soul (that identifies the music rhythm and blues and soul music played by white people) and rockabilly.

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